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ART  OF  THE  OLD  WORLD  IN  NEW  SPAIN 
AND  THE 

MISSION  DAYS  OF  ALTA  CALIFORNIA 


I 


PALACE  OF  CORTES  IN  CUERNAVACA 
Built  by  Cortes  in  1521.  One  of  the  oldest  and  most  famous  buildings  in 
Mexico.  Under  the  government  of  Morelos  occupied  as  Capital  of  State. 
Beautiful  old  arcades  remain  in  their  original  state.  Photograph  from  Baxter’s 
Spanish-Colonial  Architecture  in  Mexico. 


ART  OF 

THE  OLD  WORLD  IN 
NEW  SPAIN 

AND  THE 

MISSION  DAYS  OF 
ALTA  CALIFORNIA 


By 

MARY  GORDON  HOLWAY,  B.  L. 


SAN  FRANCISCO: 

A.  M.  ROBERTSON 
1922 


the  Gerry  mm 

LIBRARY 


DEDICATION 


TO  THE 

SONS  AND  DAUGHTERS  OF  CALIFORNIA, 
PARTICULARLY  TO  THOSE  OF  THE  SECOND  AND  THE 
THIRD  GENERATIONS,  THIS  VOLUME  IS  DEDICATED 
IN  THE  ONE-HUNDRED  AND  FIFTY-THIRD  YEAR 
OF  THE  FOUNDING  OF  THE  FIRST 
MISSION  IN  CALIFORNIA 
WITH  THE 

SINCERE  WISH  THAT  THE  PERUSAL  OF  ITS 
PAGES  MAY  BRING  NEW  LIGHT  ON  ONE  PHASE 
OF  DEVELOPMENT  IN  THE  FORMATIVE 
PERIOD  OF  OUR  STATE’S 
HISTORY  AND  AN 

APPRECIATION  OF  THE  BACKGROUND 
CONTRIBUTED  BY  BOTH  NEW 
SPAIN  AND  HER  MOTHER 
COUNTRY  ACROSS 


THE  SEAS 


CONTENTS 


ART  OF  THE  OLD  WORLD  IN 
NEW  SPAIN 

PREVIOUS  TO  THE  CONQUEST 5 

AFTER  THE  CONQUEST 15 

OLD  MEXICAN  SCHOOL 46 

SCHOOL  OF  IBARRA 66 

THE  ACADEMY  OF  FINE  ARTS  ....  75 

THE  MISSION  DAYS  OF 
ALTA  CALIFORNIA 

California’s  indebtedness  to  the  missions 

FROM  THE  STANDPOINT  OF  ART  . . 85 

NATIVE  ART  PRODUCTION.  THE  PATIENT  PADRE 

AND  THE  ARTLESS  INDIAN  ....  93 

THE  REMAINING  MISSION  MURALS  . . 106 

DECORATIVE  ECCLESIASTICAL  EQUIPMENT 

FROM  SPAIN  AND  MEXICO.  PAINTINGS  . 126 

SCULPTURES I49 

PORTRAITS,  FALSE  AND  TRUE,  OF  FATHER 

JUNIPERO  SERRA 166 


. 


ILLUSTRATIONS 


Palace  of  Cortes  in  Cuernavaca  . . frontispiece 

FACING 

PAGE 

Ironwork  of  balconies  and  choir  screens,  Santa  Clara, 
Mexico  ........  14 

Baroque.  Convent  of  Santa  P.osa  de  Viterbo,  Mexico  . 16 

Tapestries  in  the  Chapter  Room  of  Cathedral  at  Puebla, 
Mexico  ........  28 

The  Entombment  .......  30 

Hortus  Conclusas.  Mural  painting  in  sacristy  of  Santa 
Rosa  at  Queretaro  ......  34 

The  Camarin  ........  42 

“The  Presidio  of  Monterrey,  California”  ...  46 

“The  Mission  of  San  Carlos  near  Monterrey”  . . 50 

Santa  Cruz  Mission,  California  ....  58 

Mission  San  Juan  Capistrano,  California  ...  62 

Mission  San  Juan  Capistrano,  California  ...  66 

All-Seeing  Eye  over  Statue  of  St.  Michael — Mission 
San  Miguel  .......  74 

Sanctuary  at  Santa  Ynes  .....  78 

San  Juan  Capistrano  ......  80 

Hand  riveted  Candlestick  from  Mission  San  Francisco 
Solano  at  Sonoma,  California  ....  92 


ILLUSTRATIONS  (CONTINUED) 

Large  Museum  Hall,  San  Gabriel  Mission  . 94 

San  Gabriel  Mission  Church,  Main  Altar  ...  98 

Our  Lady  of  Sorrows.  Mission  Dolores  . .106 

Tabernacle  Door.  Mission  Dolores  about  1776  .110 

Statue  of  San  Juan  at  San  Juan  Bautista  . .114 

San  Juan  Bautista  . . . .122 

Old  wooden  figures  that  originally  ornamented  the  posts 
opposite  Entrance  of  Mission  San  Antonio  . .126 

Native  Carving  originally  nailed  on  wall  of  church  at 
Carmel  . . . . . . .128 

Stone  Carving  of  the  Virgin  of  Guadalupe  over  door 
at  Presidio  Church,  Monterey,  California  . . 140 

Frontispiece  of  the  Vida  y Apostolicas  Tareas  del  Ven- 
erable Padre  Fray  Junipero  Serra  . . .158 

Fanciful  portrait  of  Father  Serra  .164 

Fr.  Junipero  Serra,  Founder  of  the  California  Missions  168 


I 


FOREWORD 


The  reader  of  this  delightful  book  by  Mary  Gordon 
Holway  will  have  an  intriguing  glimpse  into  those  little 
known  influences  that  were  at  work  during  the  early 
period  of  California  and  Mexico.  Mrs.  Holway  s 
study  has  gleaned  much  from  the  fragmentary  remains 
of  the  art  creations  that  enriched  the  missions  at  the 
height  of  their  influence.  At  this  moment  there  are  many 
articles  of  art  that  were  taken  from  the  old  missions 
and  from  Spanish  homes  which  have  fowid  their  way 
into  auction  rooms  or  junk  shops.  I have  seen  price- 
less treasures  of  Spanish  colonial  art  that  have  been 
bought  for  a song. 

It  is  my  belief  that  this  book  will  furnish  an  incen- 
tive to  its  readers  to  watch  for  every  opportunity  to 
get  control  of  those  things  that  will  help  in  the  restora- 
tion of  the  history  of  California  and  of  Mexico ; and 
eventually  I hope  they  will  be  turned  over  to  our  Cali- 
fornia Museums , and  thus  make  even  more  clear  the 
picture  so  charmingly  presented  here  of  this  obscure 
link  in  our  history. 


Bernard  Maybeck. 


PREFACE 


In  the  building  of  a great  city  the  contribution  of 
the  artist , either  painter  or  sculptor , although  not  so 
obviously  needed  at  the  outset  as  the  work  of  the  mason 
or  engineer , is  nevertheless  one  of  the  vital  constructive 
forces , since  it  is  an  influence  ministering  to  an 
inherent  human  need , a desire  for  something  more 
than  protection  or  shelter , the  craving  for  that  which 
stimulates  and  satisfies  the  love  of  beauty  in  a visible 
form. 

A silent  and  enduring  witness  of  this  need from  the 
dawn  of  time  is  found  in  the  steady  progression  of  the 
use  of  color  on  the  walls  of  the  prehistoric  cave  dweller. 
Archceologists  tell  us  that  these  prehistoric  drawings 
in  outline  were  inspired  by  necessity  of  a means  of 
communication  between  neighboring  tribes , yet  the 
introduction  of  color  and  its  subsequent  elaboration , 
though  slow > reveals  in  addition  an  instinct  trans- 
mitted from  primitive  man  to  succeeding  generations; 
and  thus  through  the  chain  of  countless  ages  the  crude 
statement  of  a simple  fact  recorded  with  the  sweep 
of  a single  line , perhaps , on  the  walls  of  a prehistoric 
cave , centuries  after  has  developed  into  a message  of 


2 ART  OF  THE  OLD  WORLD  IN  NEW  SPAIN 


beauty  and  inspiration  as  it  speaks  from  the  canvas 
of  a modern  master . Thus  follows  the  indisputable 
fact  that  the  progress  of  a nation  may  be  read  in  the 
progress  of  its  art  and  though  seemingly  but  a by- 
product of  its  period , it  is  yet  a true  index  of  the  con- 
dition of  the  people , since  each  resulting  phase  of  art 
is  the  reflex  of  the  forces  contributing  to  their  develop- 
ment^ both  temporal  and  spiritual . 

In  writing  therefore  the  story  of  the  art  of  Old 
Mexico  and  California , so  full  of  romance  and 
artistic  interest  that  the  area  seems  like  an  enchanted 
country , one  can  scarcely  forbear  to  intrude  upon  the 
province  of  the  historian.  It  is  with  deep  gratitude 
the  writer  acknowledges  the  debt  to  Professor  Herbert 
E . Bolton , Professor  of  American  History  and 
Director  of  the  Bancroft  Library  at  the  University  of 
California , and  to  Professor  Herbert  I.  Priestley , 
also  of  the  Bancroft  Library. 

Acknowledgments  are  also  due  Father  Zephyr  in 
Englehardt , author  of  Missions  and  Missionaries 
of  California , the  late  Mr.  F.  S.  Daggett , Curator  of 
the  Exposition  Building,  Los  Angeles,  and  Miss 
Helen  B.  Wood  of  the  same  institution ; Father  Chanal 
of  the  University  of  Santa  Clara;  Father  Dorca  of  the 
Plaza  Church,  Los  Angeles;  Father  Eugene  Sugranes , 
formerly  of  San  Gabriel  Mission;  Mr.  Bernard 


PREFACE 


3 


Maybeck  for  his  invaluable  artistic  suggestion  and 
criticism , and  the  many  friends  who  contributed  from 
their  store  of  personal  recollection  information  of 
much  value.  While  the  writer  does  not  claim  that  the 
material  is  wholly  new>  the  major  part  has  been 
obtained  through  study  and  research  at  the  Bancroft 
and  other  libraries , museums  and  private  collections. 
The  description  of  the  pictures  and  statuary  re- 
maining at  the  California  Missions  today  is  the 
result  of  personal  visits  to  these  missions  by  the 
author  in  May  ip/S,  July  and  August , /p/p,  and 
July  and  August , ig20.  For  the  six  illustrations  of 
Art  in  Mexico  the  author  is  indebted  to  the  J.  B. 
Millet  Publishing  Company  for  their  permission  to 
reproduce  photographs  in  Sylvester  Baxter  s Spanish- 
Colonial  Architecture  in  Mexico. 

Mary  Gordon  Holway. 

Berkeley , California 
Mayy  1922 


PREVIOUS  TO  THE  CONQUEST 

X—/ong  before  Junipero  Serra  began  his  march  of 
spiritual  conquest  across  the  western  wilderness, 
Spain  was  sending  works  of  art  to  adorn  the 
churches  of  her  subjects  in  New  Spain;  early  in  the 
period  when  Cortes  was  contesting  for  dominion, 
gifts  from  the  reigning  house  reached  Mexico, 
followed  by  importations  of  still  greater  value 
during  the  succeeding  century.  Keeping  pace  with 
the  activity  of  the  padres  in  their  work  of  civiliza- 
tion among  the  Indians,  these  importations  fur- 
nished a contributing  though  silent  factor  in  the 
formative  influence  exerted  by  Old  Mexico  upon 
the  character  of  the  Indian;  an  influence  which 
became  more  direct  through  the  training  by 
Spanish  art  teachers  in  her  own  native  schools,  not 
only  upon  the  Indians  in  Old  Mexico,  but  later 
upon  the  Indians  of  the  peninsula  and  ultimately 
upon  those  of  Alta  California  itself.  It  is  therefore 
fitting  that  the  story  of  early  art  on  the  Pacific 
Coast  should  include  a brief  reference  to  the  art 
of  Old  Mexico,  especially  that  of  the  sixteenth  and 
seventeenth  centuries. 


Is] 


6 ART  OF  THE  OLD  WORLD  IN  NEW  SPAIN 


Whether  Spain  was  interested  for  self-glory  and 
conquest,  or  for  the  laudable  desire  of  spreading 
the  doctrines  of  Christ  in  a new  land,  is  immaterial 
in  this  discussion.  The  fact  remains  that  notwith- 
standing all  the  cruelty  involved  and  the  destruc- 
tion made  of  historical  material  during  the 
extension  of  Spanish  dominion  in  New  Spain,  the 
mothercountry  did  a herculean  task  in  rescuing 
the  land  from  the  hands  of  idolaters;  in  this  work 
her  patronage  of  native  art  played  a very  vital  part. 

Very  little  is  known  of  the  art  of  Mexico  pre- 
vious to  the  conquest,  since,  with  the  advent  of  the 
Spaniard,  the  greater  part  of  the  pictorial  art  of 
that  period  disappeared,  destroyed  in  the  effort 
to  satisfy  his  religious  fervor.  Like  many  primitive 
peoples,  the  early  Mexicans  painted  on  dressed 
skins  with  crude  pigments,  but,  their  civilization 
being  far  in  advance  of  that  of  other  North 
American  tribes,  these  pictographs  or  “codices” 
as  they  are  known,  proved  of  great  historical  value. 
In  this  form  of  art,  the  Mexicans  conveyed  not 
only  their  idea  of  religious  belief,  but  also  their 
idea  of  life  with  its  various  activities  and  interests. 
Some  of  the  representations  were  intended  for 
portraits  of  their  gods,  others  of  their  kings,  and 
still  others  of  their  heroes;  some  explained  the 


PREVIOUS  TO  THE  CONQUEST 


7 


mysteries  of  their  religion — many  referred  to 
astronomy  and  even  forecasted  weather  conditions; 
historical  events  were  recorded  in  this  manner. 
Codes  interpreting  their  laws,  customs,  methods 
of  administering  taxes  and  levying  of  tributes  were 
all  in  pictorial  form.  One  pictograph  was  named 
the  “Book  of  Tributes”  and  one  the  “Zapotec 
Codex.”  To  the  followers  of  Cortes  this  form  of  art 
was  incomprehensible  and  it  is  not  strange  there- 
fore that  in  their  zeal  to  destroy  the  idols  of  the 
savages,  the  Spaniards  failed  to  discriminate  be- 
tween religious  and  other  forms  of  picture  writing. 
“To  the  great  grief  of  the  Indians  and  the  utmost 
regret  of  the  curious  among  the  Spaniards”  vast 
numbers  of  these  ancient  paintings,  together  with 
many  valuable  documents  and  manuscripts,  were 
collected  and  burned  in  the  market-place  at 
Tezcuco  where  the  principal  school  of  painting  was 
located. 

After  the  Spaniards  realized  the  great  historical 
loss,  attempts  were  made  to  get  information 
directly  from  the  living  Indians,  but  distrust  of 
the  invader  and  the  desire  to  preserve  what  was 
left  of  the  pictographs  and  manuscripts  defeated 
efforts  in  that  direction.  Certain  of  the  eccles- 
iastics and  Spanish  officials,  however,  were  able  to 


8 ART  OF  THE  OLD  WORLD  IN  NEW  SPAIN 


make  a few  collections  of  the  historical  paintings 
that  escaped  destruction.  The  first  Bishop  of  Mex- 
ico collected  sixty-three  specimens,  thirteen  being 
valuable  historical  records.  One  collection  pre- 
sented to  Pope  Clement  VII  by  Emanuel,  King 
of  Portugal,  is  at  the  Vatican.  Some  of  the  paint- 
ings were  deposited  in  museums  and  private 
libraries.  The  Mexican  Government  confiscated  in 
the  beginning  private  collections,  but  permitted 
historians  to  consult  them.  Of  these  a few  are  at 
Vienna  and  a few  also  at  the  Louvre  in  Paris. 
Humboldt  purchased  several  when  the  treasures 
of  Leon  y Gama  were  sold  and  sent  them  to  Berlin; 
Cortes  sent  a great  number  to  Spain  as  “curiosities 
of  New  World  art.”  A volume  of  rare  Mexican 
paintings  (probably  from  among  those  sent  by  the 
Conqueror)  made  on  a thick  skin  and  profusely 
illustrated  is  preserved  in  the  library  of  Bologna. 
The  last  Mexican  king  bequeathed  to  his  descend- 
ants what  remained  in  the  royal  collection  after 
the  burning  of  Tezcuco;  some  of  these  are  at  the 
National  Museum  in  the  City  of  Mexico,  among 
them  an  historical  painting  which  competent  cri- 
tics consider  of  rare  value.  This  painting  was  at 
first  supposed  to  refer  to  some  event  in  biblical 
history  and  attempts  were  made  to  connect  the 


PREVIOUS  TO  THE  CONQUEST 


9 


earliest  history  of  Mexico  with  the  same  period 
expressed  in  the  painting.  According  to  later 
authorities,  however,  it  represents  the  “wander- 
ings of  the  Mexicans  in  the  valley  itself  from  1325 
back  to  882,  A.D.,  which  is  the  earliest  chrono- 
logical sign  in  the  painting.1 

Paintings  also  served  the  Mexicans  as  maps  and 
charts.  When  Cortes  was  seeking  information  in 
regard  to  safe  harbors  in  the  Gulf  of  Mexico, 
Montezuma  sent  him  a painting  of  the  entire  coast 
from  where  the  city  of  Vera  Cruz  stands  to  the 
river  Coatzacualco.2  Bernal  Diaz  in  his  history  of 
the  Conquest  is  authority  for  the  statement  that 
Cortes  in  a long  arduous  sea  trip  to  Honduras 
used  a chart  given  by  the  officials  of  Coatzacualco 
picturing  all  the  places  and  rivers  between  the 
points  of  departure  and  his  destination.3 

From  the  vast  numbers  of  paintings  that  filled 
the  temples  and  the  royal  palaces  of  the  City  of 
Mexico  and  of  Tezcuco  we  know  there  must  have 
been  a great  number  of  artists,  and  they  must  have 
worked  with  surprising  rapidity.  This  is  not  strange 

^acNutt,  Letters  of  Cortes,  Vol.  I,  p.  338. 

2Premiere  lettre — Correspondence  Cortes  avec  Charles-Quint. 

3At  the  Exposition  Building,  Los  Angeles,  California,  there  is  an  original 
pictograph,  a beautiful  book  cover  made  of  stag  skin,  a brilliant  white  surface, 
and  probably  describing  the  rain. 


IO  ART  OF  THE  OLD  WORLD  IN  NEW  SPAIN 


since  they  painted  in  outline  as  the  primitive 
Egyptians  worked,  and  like  the  latter  lacked  know- 
ledge of  perspective  and  proportion.  Besides  other 
skins,  they  used  parchment  made  from  deer-skin, 
and  painted  also  on  fine  cloth,  and  on  paper  made 
from  the  agave  leaves,  palm  leaves  and  sometimes 
from  cotton.  Singularly  enough  they  painted  no 
nudes  of  either  sex. 

Colors  were  obtained  from  the  roots  and  leaves 
of  flowers  and  from  plants;  the  smoke  or  soot  of 
the  ocotl , a certain  kind  of  pine,  furnished  black; 
the  indigo  plant,  blue,  and  purple  was  made  from 
cochineal,  an  insect;1  another  red  from  boiling 
vegetable  seeds  in  water,  yellow  from  ochre;  nitre 
converted  yellow  into  orange.  Occasionally  artists 
used  pulverized  earths,  mixing  different  kinds  to 
produce  desired  color;  plant  products,  especially 
roots  and  stems  and  pulverized  minerals,  are  still 
used  by  the  older  Pacific  Coast  Indians  today  for 
the  same  purpose.  For  binding  the  colors  chian  oil 
or  sometimes  the  heavy  juice  of  certain  plants 
sufficed. 

Aztec  sculpture,  which  was  far  superior  to  Aztec 
painting,  like  the  latter,  had  many  characteristics 
of  the  Egyptian,  especially  in  its  monumental  size, 


d^istoria  de  la  Pintura  en  Mexico. 


PREVIOUS  TO  THE  CONQUEST  1 1 

its  composition  and  deep,  cavernous  shadows.  An 
excavation  made  at  Monte  Alban  near  Oaxaca 
shows  an  instance  of  these  resemblances  in  the 
four  rude  sculptures  over  life-size,  seated  in  a row, 
strongly  resembling  Egyptian  temple  figures.  Rem- 
nants of  broken  sculpture  strewn  over  large  areas 
indicate  the  immense  number  of  statues  made  by 
this  interesting  people;  a number  so  great  it  is  said 
the  invaders  laid  the  foundation  of  the  first  church 
built  in  Mexico  of  crushed  idols.1  In  the  surface- 
soil  around  the  pyramids  at  Teotihuacan,  and  in 
the  sepulchral  urns  throughout  the  valley,  thou- 
sands of  miniature  terra-cotta  heads  were  found, 
remarkable  for  their  excellence. 

The  Mexicans  were  also  skilful  in  gold  and  silver 
work,  using  sometimes  an  alloy  of  copper  and  tin. 
“They  made  perfect  images  of  natural  bodies. 
A fish  with  alternating  scales  of  silver  and  gold; 
a parrot  with  movable  head,  tongue  and  wings, 
and  an  ape  with  movable  head  and  feet,  with  a 
spindle  in  his  hand  in  the  attitude  of  spinning.” 

The  gifts  sent  by  Cortes  to  Charles  V in  July, 
1519,  included  many  beautiful  pieces  of  workman- 
ship so  rare  and  so  exquisitely  wrought  they 
astonished  the  goldsmiths  of  Seville.  Gomara  in 

history  of  Mexico,  Clavigero,  book  vii,  p.  413. 


12  ART  OF  THE  OLD  WORLD  IN  NEW  SPAIN 


his  Life  of  Cortes  mentions  in  the  list  “four  tridents 
adorned  with  feathers  of  various  colors  with  pearl 
points  tied  with  gold  threads;  a headpiece  of  wood 
covered  with  gold  and  adorned  with  gems  from 
which  hung  twenty-five  little  bells  of  gold;  instead 
of  a plume  it  had  a green  bird  with  eyes,  beak  and 
feet  of  gold.” 

But  the  art  par  excellence  of  this  ancient  people 
was  the  feather  mosaic  work  in  which  the  feathers 
were  so  finely  matched  that  the  Spaniards  often 
“mistook  it  for  a painting.”  This  mosaic  work  was 
wrought  from  the  plumage  of  tiny  birds  which  the 
Spaniards  called  picaflores , raised  in  the  palaces 
and  private  houses  for  the  purpose  of  supplying 
the  colors  which  art  could  not  imitate.  Sometimes 
the  plumage  of  parrots  and  other  tropical  birds 
as  combined  with  the  picaflores  making  a feather 
fabric  which  furnished  the  brilliant  winter  raiment 
of  the  wealthier  class  and  for  the  priests;  it  was 
also  extensively  used  in  the  gorgeous  hangings  of 
their  palaces  and  churches.  The  Indians  not  only 
made  original  conventional  designs  in  feather  work 
but  after  the  Conquest  copied  Spanish  paintings. 
One  of  the  finest,  a Girolamo  with  a crucifix,  is 
mentioned  by  d’Anagnia,  an  Italian  of  the  six- 
teenth century,  as  being  much  more  vivid  in  color- 


PREVIOUS  TO  THE  CONQUEST 


*3 


ing  than  any  of  the  modern  masterpieces.  In  mak- 
ing this  mosaic  work  a number  of  artists  worked  on 
different  sections  of  the  same  design,  using  pincers 
to  take  hold  of  the  fine  feathers  and  pasting  them 
on  a background  of  fine  cotton  cloth.  When  all  the 
parts  were  completed,  they  were  united  on  a plate 
of  copper  and  flattened  until  the  surface  was  as 
smooth  as  a pencil  drawing.  In  delicacy  of  hand- 
ling, the  native  artists  in  their  feather  work  ap- 
proached the  fineness  of  the  Japanese.  No  wonder, 
the  Indians  valued  these  mosaics  more  highly  than 
the  gold  work.  At  the  time  Clavigero  wrote  (1780) 
there  was  but  one  living  artist  skilled  in  feather 
mosaic1  and  at  the  present  time  there  is  nothing 
of  the  art  to  be  found  preceding  the  sixteenth 
century.  The  modern  feather  work  of  Mexico  is 
but  a feeble  imitation  of  the  feather  mosaic  of  the 
earlier  centuries. 

Lamborn  tells  the  legend  of  the  feather  work; 
how,  long  ago,  in  their  pilgrimage  south  from  the 
“mysterious  seven  caverns”  the  parent  tribe  found 
thousands  of  humming  birds  with  the  most  gor- 
geous scintillating  colors.  These  the  wise  men  of  the 
tribe  alleged  were  spirits  of  their  guardian  gods 


!This  artist  lived  perhaps  at  Patzcuaro  near  “the  home  of  the  humming 
birds;”  the  last  artist  in  feather  work  died  there  in  1819. 


i4  ART  OF  THE  OLD  WORLD  IN  NEW  SPAIN 


commanding  the  natives  to  found  a great  city 
there,  which  they  did,  naming  it  Michiocan  (the 
Tarascan  Capital  of  the  Attica  of  Ancient  Mexico) 
and  familiarly  called  by  the  natives  “the  home  of 
the  humming  birds.”  The  Spaniards  coming  long 
afterward  found  native  artists  using  the  plumage 
of  these  birds  to  make  pictures  and  thus  originated 
the  far-famed  Mexican  mosaic  work.  The  next  step 
of  the  artist  in  mosaic  work  was  to  copy  in  oils  the 
paintings  of  the  foreigners. 

Many  specimens  preserved  in  the  room  allotted 
to  Mexican  antiquities  at  the  Louvre  and  also 
those  in  other  museums  both  in  the  old  world  and 
in  the  new  show  the  Aztecs  were  skilled  in  the 
making  of  pottery.  On  the  Pacific  Coast  in  the 
Hearst  Collection  at  the  University  of  California, 
Berkeley,  a series  of  interesting  spindle  whorls  and 
a number  of  ancient  painted  and  lacquered  gourds, 
bowls,  and  other  decorated  receptacles,  all  from 
the  Valley  of  Mexico,  and  the  collection  at  the 
Golden  Gate  Park  Museum  furnish  good  illustra- 
tions of  the  sincerity  with  which  these  ancient 
people  worked.  After  the  Conquest,  of  a necessity, 
the  art  became  entirely  European. 


Ironwork  of  balconies  and  choir  screens,  Santa  Clara,  Mexico. 


mm 


AFTER  THE  CONQUEST 

F or  fully  a century  after  the  Conquest,  the  art  of 
Mexico  was  concerned  solely  with  the  religious 
development  of  the  natives.  Even  in  Old  Spain, 
whence  came  the  teachers,  many  of  the  works  of 
art  destined  for  purposes  of  decoration  as  well  as 
for  working  models  in  the  schools,  were  intended 
first  of  all  to  teach  the  lessons  of  the  church.  The 
teacher  of  the  great  Velazquez  had  declared,  “The 
chief  end  of  art  is  to  persuade  men  to  piety  and  to 
incline  them  to  God.”  It  followed  naturally  that 
the  Mexican  painter  of  the  latter  part  of  the 
century  as  well  as  the  artist  in  the  beginning 
should  select  the  same  theme. 

The  missionaries  discovered  very  early  in  their 
efforts  to  Christianize  the  Indians  the  necessity 
of  having  some  tangible  means  of  approach  to  the 
savage  mind  in  order  to  arouse  the  religious  appeal 
which  was  offered  by  their  own  destroyed  gods 
and  idols.  Cortes  recognized  this  necessity  when 
he  placed  “images  of  Notre  Dame  and  other  saints 
in  place  of  the  idols,”  after  he  destroyed  the 

[15] 


1 6 ART  OF  THE  OLD  WORLD  IN  NEW  SPAIN 


temples1  on  his  march  to  the  Mexican  capital. 
The  transition,  however,  from  pagan  gods  sculp- 
tured in  stone  to  representations  of  saints  carved 
in  wood,  or  painted  on  canvas,  which  the  foreigners 
enshrined  in  new  temples,  resulted  in  much  con- 
fusion to  the  neophytes,  since  they  failed  to  catch 
the  significance  of  the  substitution.  Attempts  were 
made  to  overcome  this  difficulty  in  a measure  by 
combining  Pagan  and  Christian  symbols,  in  a 
manner  somewhat  similar  to  that  employed  by  the 
early  Christians  in  Rome!  The  Venus  and  Adonis 
myth  for  instance,  was  used  as  a symbol  of  Christ's 
love,  and  other  Pagan  myths  represented  various 
religious  truths.  The  Roman  Christians  painting 
Christian  images  and  symbols  on  the  unpolished 
surfaces  of  obsidian  mirrors  used  in  worship  of  the 
sun  placed  the  mirrors  on  their  own  altars.  This 
was  but  one  of  many  devices  used  to  obtain  free- 
dom from  pagan  interference  in  the  observance  of 
Christian  religious  ceremonies.  Although  the  mo- 
tive of  the  Spanish  padre  was  in  direct  opposition 
to  that  of  the  missionary  in  Rome,  yet  the  results 
were  identical  in  permitting  spread  of  Christian 
propaganda  among  a pagan  people,  and  articles 


JLa  Premiere  lettre,  p.  91.  Correspondence  de  Fernand  Cortes  avec 
L’Empereur  Charles-Quint. 


md 


BAROQUE 

Convent  of  Santa  Rosa  de  Viterbo,  Mexico. 


AFTER  THE  CONQUEST 


17 


used  by  the  Aztecs  in  worship  of  their  gods  were 
often  found  converted  to  religious  use  by  the 
Christians.  A holy  water  font  in  the  National 
Museum  was  originally  a stone  god  in  the  form  of 
“a  coiled  feathered  serpent”  which  inverted  and 
hollowed  out  served  another  religious  purpose; 
later  black  virgins  appeared  in  evidence  of  the 
attempt  of  the  padres  to  win  confidence  in  “im- 
migrating saints.”  A good  example  of  this  is  found 
in  the  black  Virgin  and  Child  in  the  Pennsylvania 
Museum  at  Philadelphia;  another  at  the  Mission 
Inn  at  Riverside,  California,  a wooden  statue  of 
the  Virgin  with  hair  and  feet  crudely  suggested. 

Cortes  was  deeply  interested  in  the  religious 
work  of  the  padres;  in  his  letters  to  Charles  V he 
urged  that  monarch  to  send  “missionaries  who 
are  able  to  build  and  decorate  in  a fine  manner  the 
churches  and  chapels.”1  As  the  work  of  the  padres 
progressed  it  was  paralleled  by  the  elaborate  decora- 
tion of  many  of  the  oldest  convents,  churches  and 
other  religious  buildings;2  the  interior  walls  were 

aLa  troisieme  lettre,  p.  643.  Correspondence  de  Fernand  Cortes,  etc. 

2“The  church  of  San  Cristobal  de  Hualahuises  is  richly  adorned  with 
stations.” — Complete  works  of  Gonzalez,  Vol.  II. 

Among  the  items  in  the  expense  account  of  the  convent  of  Santa  Clara 
College,  Santa  Clara,  California,  there  is  one  of  forty-four  pesos  paid  in 
March  1583  for  decorating  the  church.  Another  of  June  8,  of  eight  pesos  for 
the  same  purpose  and  in  1584,  forty  pesos  to  the  Spanish  Basque  painter 
Acumaia  for  a picture  ordered  by  the  abbess.  M.  G.  H. 


1 8 ART  OF  THE  OLD  WORLD  IN  NEW  SPAIN 


often  covered  with  wonderful  carvings  and  “chur- 
rigueresque”  work  of  gold  plate — fine  iron-grill 
work  in  the  screens  added  to  its  artistic  grace  and 
finish.  In  the  cathedral  of  Puebla  the  choir  stalls 
are  elaborately  carved  with  insets  of  ivory.  At 
Queretaro,  in  the  Cathedral  of  Guadalupe,  the 
church  and  convent  of  Santa  Rosa  and  the  church 
of  El  Carmen,  and  other  buildings  begun  in  the 
latter  half  of  the  sixteenth  and  early  seventeenth . 
century  when  the  Renaissance  was  dominating 
Spain,  exquisite  decoration  had  been  carried  to  its 
highest  point.  The  walls  of  the  interior  of  the  main 
chapel  of  Santa  Clara  were  covered  from  floor  to 
ceiling  with  the  curious  carved  churrigueresque 
work  mentioned  above.  The  church  of  San  Fran- 
cisco, built  in  the  earliest  colonial  period  (sixteenth 
century)  near  Cholula  has  most  marvelously  carved 
ceilings  of  a complicated  design  with  gilded  and 
foliated  reliefs — hosts  of  angels  and  cherubs  peer 
through  the  openings  upon  the  worshippers  below. 
This  church  has  also  a magnificent  old  screen  of 
gilded  wood.  In  the  Queretaro  church  of  the  same 
name  built  in  1851,  there  is  an  altar  of  silver  with 
a solid  gold  figure  in  the  shrine. 

One  of  the  best  examples  of  the  ornate  chur- 
rigueresque work  is  the  ceiling  over  the  organ-loft 


AFTER  THE  CONQUEST 


19 


of  the  church  of  Santo  Domino  where  hundreds  of 
beautifully  painted  figures  are  set  between  the 
carved  panels  dividing  the  decorated  spaces;  even 
the  under  parts  of  the  notched  arches  are  wonder- 
fully decorated. 

Bernal  Diaz,  the  Jesuit  Padre  Toribio  Bene- 
vente  or  as  he  was  named  by  the  Indians,  “Moto- 
linia,”  “the  poor  and  miserable,”  and  the  Fran- 
ciscan Juan  de  Torquemada  (historian  of  the  In- 
quisition), all  authorities  on  the  history  of  the 
period  of  the  Conquistadores,  record  the  bringing 
of  many  religious  paintings  and  statues  from 
Europe  by  the  first  missionaries1  to  beautify 
houses  of  worship  in  the  new  country;  it  was  at 
this  time  when  the  Netherlands  were  under  Spanish 
dominion,  that  Mexican  monks  brought  many  old 
Flemish  paintings  and  tapestries,  found  in  the 
various  convents  and  churches. 

One  of  the  earliest  importations,  the  statue  of 
Notre  Dame  placed  by  Cortes  among  old  Nahuan 
gods  in  the  ruined  pagan  temple  at  Cholula,  is 
said  to  have  been  brought  from  the  Mother 
Country  by  Villafuerte,  a soldier  in  the  conquering 
army.  From  the  pagan  temple  the  statue  was 
removed  to  the  Christian  Church  upon  the  same 

ddistoria  de  la  Pintura  en  Mexico,  note  19. 


20  ART  OF  THE  OLD  WORLD  IN  NEW  SPAIN 


site  and  in  1594  transferred  to  the  Franciscan 
church  of  San  Gabriel  (completed  in  1604  at 
Cholula  where  it  still  remains).  This  statue,  now 
known  as  the  Virgen  de  los  Remedios,  the  Ga- 
chupina,1  is  a crude  “wooden  doll,”  about  a foot 
high,  holding  the  Infant  Jesus  in  its  arms;  both 
figures  have  evidently  been  carved  with  a very 
rude  instrument. 

Of  more  than  usual  interest  in  this  connection, 
because  perhaps  of  the  tradition  attached  to  its 
origin  and  the  time  of  its  production  is  the  ancient 
painting  of  Our  Lady  of  Guadalupe  dating  back 
to  1531.  The  picture  enshrined  in  a tabernacle  in 
a silver  and  gold  frame  and  covered  with  plate 
glass,  is  on  the  high  altar  of  the  Cathedral  of 
Guadalupe  in  Mexico  City.2  It  is  an  interesting 
fact  that  the  temple  of  Tonatzin,  the  Aztec  mother 
of  the  gods,  stood  on  the  same  site  of  this  church. 
The  picture  is  painted  on  a coarse  cloth  of  silk 
fibre  and  considering  the  time  that  is  said  to  have 
elapsed  since  the  painting  was  first  discovered  the 
coloring  and  the  halo  are  wonderfully  preserved. 

iCachupin  (literally,  “he  who  wears  spurs”)  probably  Gachupin  (feminine 
form,  Gachupina)  means  the  Spaniard  who  emigrated  to  North  America 
and  established  himself  there”  (From  the  dictionary  of  the  Spanish  Academy, 
Madrid,  1869.  George  Butler  Griffin,  Historical  Society  of  Southern  Cali- 
fornia, 1888-89,  p.  49). 

2Missions  and  Missionaries  of  California,  Fr.  Englehardt,  vol.  I,  p.  610. 


AFTER  THE  CONQUEST 


21 


The  Virgin  is  represented  in  an  embroidered  robe 
of  crimson  and  gold;  a blue  mantle  covered  with 
stars  is  draped  over  her  head,  partially  covering  it, 
and  falling  from  beneath  is  a crown  with  ten 
golden  rays.  She  stands  with  her  right  foot  on  a 
crescent  held  by  a cherub;  her  hands  are  clasped, 
and  an  aureole  surrounds  the  entire  figure.  The 
picture  or  “the  Apparition,”  as  it  is  sometimes 
called,  is  believed  by  devout  Mexicans  to  have 
been  painted  by  supernatural  means,  the  question 
giving  rise  to  much  discussion  by  historians  and 
other  writers.  Skeptical  Mexicans,  however,  de- 
clare the  work  exceedingly  crude  and  deny  the 
general  belief  in  regard  to  it  while  they  admit  its 
remarkable  color.  Father  Englehardt  upholds  the 
divine  origin  of  the  painting  in  the  following  ex- 
planation: “On  three  successive  occasions  a lady 
of  surpassing  sweetness  and  exquisite  voice  ap- 
peared to  Juan  Diego,  a Christian  Indian,  while 
on  his  way  to  Mass,  twice  on  December  9,  1531, 
and  once  on  December  12  of  the  same  year.  In 
each  of  the  visions,  speaking  in  the  Aztec  tongue, 
the  Virgin  urged  upon  him  that  he  visit  the  Bishop’s 
palace  and  give  the  message  she  sent,  viz.:  that  she 
desired  a temple  built  to  her  honor  to  be  erected 
on  the  spot  on  which  they  stood,  promising  pro- 


22  ART  OF  THE  OLD  WORLD  IN  NEW  SPAIN 


tection  and  consolation  for  all  that  called  upon  her 
in  their  distress.  Juan  was  successful  in  gaining 
the  Governor's  attention  after  the  third  appear- 
ance of  the  Virgin.  When  he  unfolded  his  tunic  in 
the  presence  of  the  official,  the  miraculous  image 
of  the  Virgin  was  displayed  as  if  it  were  painted 
upon  the  cloth.  The  likeness  was  removed  and 
placed  in  the  priest's  oratory.  Afterward  the 
genuineness  of  the  existing  painting  was  proven  in 
1 85 3,  when,  as  it  was  being  removed  from  the  old 
altar  for  repairs,  attention  was  called  to  its  ex- 
traordinary weight,  and  the  picture  found  to  be 
identical  with  the  one  on  Juan's  mantle.  The 
painting  had  been  stretched  on  four  heavy  boards 
held  together  by  the  three  nails  used  by  the 
Indians  of  that  period;  on  the  canvas  was  an  in- 
scription certifying  that  this  was  the  original  and 
true  picture."  Hittell  disputes  the  story, saying  the 
credulous  Spanish  adopted  the  tale  of  a soldier 
who  asserted  (after  setting  up  an  image  he  had 
brought  from  Spain  and  changing  the  foreign 
features  to  Aztec)  that  the  “Mother  of  God  had 
made  a miraculous  appearance  in  the  likeness  of 
an  Aztec  Virgin."  (Probably  a confusion  with  the 
original  of  the  Virgen  de  los  Remedios.) 

The  Virgin  was  named  Nuestra  Senora  de  Gua- 


AFTER  THE  CONQUEST 


23 


dalupe,  and  declared  to  be  the  patroness  of  Mexico 
and  its  provinces.  A church  was  built  on  the  spot 
where  the  apparition  appeared  and  the  picture 
placed  in  a shrine. 

Miguel  Sanchez,  one  of  the  prominent  painters 
of  the  Mexican  school  of  the  period,  wrote  the  first 
history  of  the  picture  in  1648.  Copies  were  sent 
out  after  that  date  and  the  study  of  Our  Lady  of 
Guadalupe  occupied  the  attention  of  painters  for 
the  rest  of  the  century.  The  “official  examination” 
however  did  not  take  place  until  1666,  when  an 
examining  group  was  appointed  consisting  of  col- 
lege graduates,  a lawyer,  a clergyman,  a man  of 
letters  and  others  whose  ability  was  approved 
“through  their  works.”  A commission  of  seven 
artists  in  1751  under  Cabrera  vouched  for  its 
authenticity  from  the  artists’  point  of  view. 

The  Spaniards  declared  that  with  the  miraculous 
appearance  to  the  Indian  Juan  Diego,  all  idolatry 
in  Mexico  came  to  an  end.  From  that  time  (1531) 
the  veneration  of  the  picture  began,  and  on 
December  12  of  each  year,  a celebration  was  held 
in  honor  of  Our  Lady  of  Guadalupe.  The  custom 
was  begun  in  1824  when  the  Republic  was  estab- 


*In  the  revolt  of  Mexico,  the  banner  of  Guadalupe  was  carried  by  the 
Mexicans  and  that  of  the  Virgen  de  los  Remedios  by  the  Spaniards. 


24  ART  OF  THE  OLD  WORLD  IN  NEW  SPAIN 


lished  and  continued  by  the  Californians1;  and 
we  read  that  by  order  of  Governor  Figueroa,  in  1 833, 
the  streets  and  houses  at  Monterey  were  decorated 
in  the  daytime  and  illuminated  at  night;  in  1839  the 
city  of  Los  Angeles  gave  an  appropriation  of  gun- 
powder for  salutes  during  the  religious  ceremonies.1 

The  zeal  of  the  padres  was  rewarded  by  a multi- 
tude of  converts,  sometimes  thousands  in  a day; 
and  the  erection  of  churches  and  chapels  followed 
in  quick  succession.  The  decorative  supply  soon 
became  exhausted,  European  importations  proving 
too  limited  for  the  demand;  hence  the  need  for  art 
production  in  the  new  country  itself  and  the  con- 
sequent rise  of  native  artists  and  native  schools. 
In  response  to  the  request  of  Cortes  for  missionary 
teachers,  Charles  V sent  in  1523  three  men  of 
exceptional  ability,  one  of  whom,  Pedro  de  Gante 
(Peter  of  Ghent),  destined  to  become  the  pioneer 
of  education  on  the  western  continent,  was  said 
to  be  a cousin  of  the  reigning  monarch.  Gifted 
with  a pleasing  personality  combined  with  rare 
skill  as  a teacher,  this  Flemish  Franciscan  monk 
won  the  confidence  and  affection  of  the  Indians 
and  for  fifty  years  worked  among  them  devoting 
the  period  entirely  to  the  founding  of  schools  for 


JHistory  of  California,  Hittell,  vol.  II. 


AFTER  THE  CONQUEST 


25 


their  advancement.  For  this  purpose  he  received 
immense  land  grants  and  large  sums  of  money. 

Under  the  patronage  of  Viceroy  Mendoza,  and 
with  the  assistance  of  two  padre  teachers  arriving 
with  him,  Fray  Juan  de  Tecta,  guardian  of  the 
Monastery  of  Ghent,  and  the  Flemish  Fray  Juan 
de  Aora,  de  Gante  founded  the  school  at  Santiago, 
Tlaltelolco  (in  connection  with  the  Franciscan  con- 
vent), in  the  Indian  quarter  of  the  City  of  Mexico, 
for  the  children  of  the  Aztec  nobility;  an  institu- 
tion so  successful  that  the  daily  attendance  num- 
bered one  thousand.  Here  the  neophytes  were 
taught  to  sing  in  choirs,  to  paint  and  to  carve  altar 
screens,  choir  stalls  and  other  accessories  for 
church  use,  using  insets  of  ivory  and  shell  in  the 
carving  as  well  as  in  the  older  paintings.  They 
made  also,  for  church  decoration,  fine  embroidery 
into  which  they  introduced  the  brilliant  native 
feather  work.  In  painting  they  had  for  models 
masterpieces  from  Spain  and  Flanders,  many  of 
which  were  those  brought  evidently  by  the  Spanish 
missionaries.1  Thus  instruction  in  music,  painting 
and  wood-carving  began  simultaneously  with  the 

*A  portion  of  a very  old  painting  (artist  unknown)  representing  the  school 
of  Padre  de  Gante,  is  at  the  Mission  Inn  at  Riverside,  California.  The  canvas, 
however,  is  so  worn  that,  with  the  exception  of  de  Gante,  the  figures  of  the 
three  padres  are  scarcely  discernible. 


26  ART  OF  THE  OLD  WORLD  IN  NEW  SPAIN 


study  of  Latin,  Theology,  and  other  branches  in 
not  only  the  first  school  in  Mexico  but  also  the 
first  school  in  America. 

After  the  Conquest,  however,  the  history  of  art 
in  Mexico  begins  with  a definite  report  in  a letter 
sent  by  Fray  Julian  Garces,  first  bishop  of  Tlaxcala, 
to  Pope  Paul  III  in  1537,  sixteen  years  after  the 
entry  of  Cortes  into  the  city.  In  this  letter  Fray 
Garces  refers  to  the  progress  made  by  Pedro  de 
Gante  and  the  other  missionaries  in  teaching  the 
Indian  to  sculpture  and  to  paint  in  this  school. 

While  the  works  of  art  imported  from  the  old 
world  gave  the  essential  dramatic  touch  in  teaching 
the  Christian  mysteries  and  in  various  events  con- 
nected with  the  new  religion,  the  art  training  by 
the  missionaries  was  of  still  more  value  in  this 
respect  This  was  true  even  from  the  beginning 
when  there  could  be  no  personal  expression  in  the 
work,  since  it  consisted  of  mere  copying  from 
inferior  models,  and  became  more  evident  later 
in  the  attempts  of  the  natives  to  express  their 
knowledge  of  a religious  subject  in  the  work  of 
their  own  hands.  Mr.  Baxter  reminds  us  that  the 
earliest  colonial  art,  though  based  on  the  prevailing 
art  of  the  mother  country,  was  carried  on  by 
natives,  not  savages,  but  by  a race  which  had 


AFTER  THE  CONQUEST 


27 


already  advanced  in  civilization  and  whose  achieve- 
ments in  art  before  the  Spanish  influence  were  not 
to  be  despised.  Therefore  Mexican  colonial  art  had 
a distinct  flavor  of  its  own.  An  evidence  of  this 
fact  may  be  seen  in  the  depth  of  the  shadows  in- 
herited from  the  Aztec  period,  showing  the  native 
tendency  in  the  later  art  which  influenced  Spain 
itself.1  Moreover  the  wisdom  of  the  padres  in  per- 
mitting the  natives  a free  hand  is  shown  in  the 
expression  of  native  feeling  which  often  pervaded 
their  work.  A notable  instance  of  this  native  feeling 
is  seen  in  the  introduction  of  figures  of  monkeys 
and  other  tropical  animals,  and  the  famous  Mexi- 
can bird,  the  guajamaya,  into  the  wood-carved 
designs  of  the  beautiful  choir  stalls  of  San  Agus- 
dn  Church.  Although  these  stalls  were  not  made 
until  probably  the  end  of  the  seventeenth  century 
this  characteristic  individuality  persists  through- 
out the  work.  It  appears  also  in  the  Aztec  figures 
on  each  side  of  the  beautiful  iron  grill  work  of  the 
entrance  to  the  Calle  de  Infantes  in  Puebla; 
futhermore  there  is  no  trace  of  Spanish  influence 
in  the  carving  of  the  dogs  held  by  chains  in  the 
hands  of  these  same  figures.  The  Virgin  is  often 


Notice  the  correspondence  of  cavernous  shadows  in  the  ornaments  in  the 
picture  of  iron  grill  work  at  Santa  Clara,  and  the  Egyptian. 


28  ART  OF  THE  OLD  WORLD  IN  NEW  SPAIN 


represented  with  ear-rings  and  nepklace  in  accord- 
ance with  the  feeling  of  each  artist  to  follow  his 
national  type  in  portraying  the  Madonna. 

With  the  importation  of  finer  models  the  native 
workers  became  skilled  copyists.  Torquemada  and 
Motolinia  both  declare  that  there  had  been  no 
picture  or  statue  brought  from  Spain  that  the 
Christian  Indians  could  not  reproduce  before  the 
end  of  the  sixteenth  century.  The  presence  of 
Spanish  artists  early  in  1600  (although  there  is 
little  authoritative  in  regard  to  them  or  their  work) 
aided,  no  doubt,  the  efforts  of  the  padres  in  stim- 
ulating the  native  artists  to  think  for  themselves 
and  by  the  end  of  the  sixteenth  century  copying 
had  entirely  disappeared  and  the  Indians  were 
doing  creative  work.  Among  the  latter,  Bernal 
Diaz  mentions  the  names  of  Andres  de  Aquino, 
Juan  de  la  Cruz  and  the  Crespello  as  being  the 
first  three  Mexican-Indians  to  become  prominent 
in  creative  work.  Bernal  Diaz  speaks  also  of  the 
exaggerated  estimates  given  to  their  work  by  the 
critics.1 

Unfortunately  the  padre  painters  did  not  under- 
stand the  mixing  of  pigments  to  resist  the  chemical 
action  upon  color  at  the  elevation  of  the  Mexican 


iHistoria  de  la  Pintura  en  Mexico,  p.  23. 


Tapestries  in  the  Chapter  Room  of  Cathedral  at  Puebla,  Mexico.  Gift  of 
Emperor  Charles  V. 


AFTER  THE  CONQUEST 


29 


plateau;  and  their  work,  besides  growing  ashy 
with  the  passing  of  years  eventually  became  value- 
less for  either  artistic  or  historical  purposes;  the 
humidity  of  the  walls  also  had  a deleterious  effect 
upon  mural  decorations.  This  partly  accounts  for 
the  absence  of  frescoes  in  the  churches,  a want 
supplied  by  paintings  in  frames  fitted  in  spaces  for 
decoration.  Between  the  period  of  the  Indian 
artists  and  that  of  the  Spanish  and  Mexican 
schools  two  collections  of  portraits  of  the  Viceroys 
are  the  only  works  existing.  Both  collections  are 
in  the  City  of  Mexico,  one  in  the  National  Museum, 
and  the  other  in  the  Casa  Consistorial. 

In  the  collection  of  Miss  N.  A.  Hendee  of  Los 
Angeles  there  are  beautiful  paintings  on  wood  of 
five  archangels  from  an  original  series  of  six.  These 
are  known  as  the  Yucatan  panels,  probably  brought 
from  the  Cathedral  at  Merida,  Yucatan,  which  at 
one  time  was  full  of  relics  that  have  long  disap- 
peared.1 The  artist  is  unknown  but  from  the  tech- 
nique and  the  medium  used  they  are  no  doubt 
excellent  examples  of  the  later  mission  art.  On 
each  panel  outlined  or  etched  against  a background 
of  soft  buff  color  and  seemingly  floating  in  an 
ethereal  atmosphere  is  a figure  of  a female  saint: 


1Clavigero,  book  VII. 


30  ART  OF  THE  OLD  WORLD  IN  NEW  SPAIN 


beneath  two  appears  an  ornamental  legend,  one 
“S.  Seult”  and  the  other  “S.  Vriel.”  The  flesh  tones 
in  brown  are  very  fine,  the  delicacy  of  repeated 
brown  and  yellow  tones  relieved  from  monotony 
by  touches  of  red  and  gilt  in  the  graceful  folds  of 
drapery  and  by  the  insets  of  pearly  shell  in  drapery 
and  wings.  The  drawing  and  spirit  of  the  work 
suggest  Botticelli  or  Fra  Angelico  influence  and 
the  lack  of  both  modeling  and  vividness  of  color 
preclude  all  idea  of  the  old  Mexican  School. 

A further  suggestion  of  the  earlier  period  is 
found  in  the  frames  of  dark  brown  wood,  two  of 
which  are  ornamented  in  inlaid  pearly  shell  in 
conventionalized  flower  forms;  others  with  birds 
and  flowers,  also  in  shell  inlay,  and  flowers  painted 
in  pale  yellow  and  reds.  These  ancient  frames  have 
also  an  inner  and  an  outer  simple  conventional 
design  in  gilt.  The  use  of  gilt  tracery  in  frame  and 
picture  would  indicate  a later  period  than  that 
denoted  by  shell  inlay  but  both  the  shell  and  ivory 
insets  were  occasionally  used  for  decorative  pur- 
poses as  early  as  the  seventeenth  century.  At  the 
Glenwood  Mission  Inn,  Riverside,  California,  there 
are  three  rare  old  frames  of  this  description  dating 
from  about  1750.  It  is  known  that  Cortes  spon- 
sored artists  from  Spain  other  than  the  padre 


By  Titian  in  Church  at  village  of  Tzintzuntzan  near  Patzcuaro  in  the  center 
of  Mexico — ascribed  by  some  to  Echave  and  by  others  to  Ibarra.  Discovered 
by  Frederic  E.  Church  in  1884. 


THE  ENTOMBMENT 


AFTER  THE  CONQUEST 


3i 


painters  and  teachers  and  that  the  former  were 
sent  South  and  East  from  the  City  of  Mexico  into 
what  is  now  Central  America,  decorating  chapels 
and  convents  and  other  religious  houses  as  they 
journeyed.  In  the  Fifth  Letter  to  Charles  V,  Cortes 
described  his  religious  activity  throughout  his 
journey  through  Yucatan,  but  since  the  Cathedral 
at  Merida  was  not  completed  until  fifty  years 
after  his  death,  the  paintings  can  scarcely  be 
ascribed  to  a Spanish  emigrant  painter  of  the 
period  of  Cortes.  Moreover  the  countenances  are 
so  unmistakably  of  colonial  rather  than  contin- 
ental type  it  makes  the  importation  from  any  of 
the  West  Indian  Islands  extremely  doubtful.  The 
work  may  well  be  the  product  of  the  Mission 
schools  in  the  latter  part  of  the  sixteenth  or  the 
beginning  of  the  seventeenth  century;  the  legends 
may  be  accounted  for  by  their  being  added  much 
later  than  when  the  original  paintings  were  made. 
The  first  building  erected  in  Yucatan  after  the 
arrival  of  the  Spaniards  was  the  home  built  in 
1541  for  Montejo,  first  governor  of  the  province. 
This  edifice  known  as  the  “house  of  Montejo”  has  a 
most  unusual  entrance;  a carving  over  the  portal  of 
two  armed  knights  trampling  underfoot  two  Indians 
is  representative  of  the  spirit  of  the  Spanish  Con- 


32  ART  OF  THE  OLD  WORLD  IN  NEW  SPAIN 


quistadores  inovercomingrebellion  in  that  province. 

During  the  earliest  period  of  the  Conquest 
Charles  V,  reigning  monarch  in  Spain,  sent  many 
valuable  gifts  to  the  colonial  churches  in  the  new 
world.  The  Cathedral  at  Cuernavaca,  erected  in 
1529,  still  possesses  a wonderful  clock  presented 
to  Cortes  for  that  purpose;  the  Cathedrals  at 
Mexico  and  at  Puebla  were  especially  favored.  As 
the  number  of  convents,  chapels,  and  chapter 
houses  increased,  this  custom  inaugurated  by  their 
sovereign  was  followed  by  members  of  the  royal 
house  and  by  other  Spanish  nobles;  later  the  send- 
ing of  these  ‘Votive  offerings”  became  a religious 
obligation.  The  Palace  of  Sant  Elmo  at  Seville 
was  assigned  to  the  receiving  of  gifts  of  pictures, 
statuary,  tapestries,  and  all  forms  of  art  intended 
for  the  decoration  of  the  mission  churches,  chapels, 
and  convents  in  New  Spain.  Many  of  the  paintings 
had  the  sign  cut  into  the  backs  of  the  frames, 
showing  they  came  from  Seville.  There  was  also  in 
front  of  the  palace  a heroic  figure  of  the  Virgin  in 
a boat;  in  the  receptacle  which  she  held  were 
placed  the  taxes  and  tributes  imposed  by  the  gov- 
ernment for  the  support  of  the  churches  overseas. 

With  the  increasing  wealth  of  the  church  the 
gifts  included  originals  and  fine  copies  of  the  lead- 


AFTER  THE  CONQUEST 


33 


ing  masters  in  Spain  and  Italy,  especially  during 
the  seventeenth  century  when  wealth  and  taste 
were  factors  in  the  selection,  and  the  rivalry  of 
successive  reigns  of  viceroys  influenced  and  en- 
couraged the  best  importations.  Zamacona,  a Mex- 
ican statesman,  is  authority  for  the  statement  that 
as  late  as  1890  works  by  Velazquez  still  hung  on 
the  walls  of  a secularized  Puebla  refectory,  then 
used  as  a shelter  for  a riding  school. 

At  the  time  that  Cortes  was  conquering  in 
Mexico,  Renaissance  art  was  just  being  introduced 
into  Spain  by  a number  of  artists  who  had  gone  to 
study  in  Italy,  after  this  fewer  Flemish  paintings 
found  their  way  to  the  new  colony.  The  effect  of 
foreign  training  was  a complete  revolution  in  the 
idea  of  ecclesiastical  art — a revolution  peculiar  to 
Spain  alone,  the  relatively  flat  decorative  element 
in  sculpture  was  replaced  by  sculptured  figures 
with  great  multiplicity  of  detail  — the  direct  out- 
come of  the  native  Mexican  in  the  Mexican  art 
which  influenced  Spanish  taste,  now  ready  after 
the  Moslem  occupation  of  Spain.  As  a consequence 
stone  and  marble  were  set  aside  for  wood  as  a 
cheaper  and  more  readily  worked  medium.  This 
fact  accounts  for  the  numberless  statues  of  wood 
that  filled  the  mission  churches. 


34  ART  OF  THE  OLD  WORLD  IN  NEW  SPAIN 


Among  the  painters  of  the  latter  part  of  the 
century,  Ribera  (II  Spagnoletto)  the  “Spaniard 
in  Italy”  (1585-1609),  who,  notwithstanding  his 
short  period,  was  one  of  the  leading  art  influences, 
introducing  the  Italian  manner  of  thought  in  the 
realistic  treatment  of  subject  as  well  as  the  Italian 
idea  of  technique.  Following  the  artistic  precedent 
of  the  period,  Ribera’s  favorite  religious,  motifs 
included  martyrdoms  and  crucifixions.  At  the  old 
church  in  Toluca  there  are  several  copies  of 
Ribera,  whether  painted  by  artists  of  the  old 
Mexican  School  or  European,  is  uncertain.  The 
Mission  of  San  Carlos  at  Monterey,  California, 
possesses  a painting  attributed  to  this  artist ; the 
head  of  the  bleeding  Christ  is  typical  of  Ribera’s 
choice  of  subject;  the  heavy  shadows,  the  use  of 
color,  and  the  drawing  are  characteristic  of  his 
St.  Jeromes  and  other  religious  work.  While  it  no 
doubt  is  inferior  to  the  best  of  Ribera’s  earlier 
works,  it  is  one  of  such  merit  as  to  suggest  that  the 
canvas  may  have  been  painted  by  one  of  his 
pupils  or  by  an  artist  of  the  Old  Mexican  School. 
It  is  evidently  far  superior  to  anything  within  the 
capacity  of  the  Mission  Indians  of  California. 

In  1550,  Titian  and  other  famous  artists  were 
painting  in  the  court  of  Charles  V at  Madrid;  a 


HORTUS  CONCLUSAS 

Mural  painting  in  sacristy  of  Santa  Rosa  at  Queretaro — artist  Eduardo 
Tresquerras — Interior  Churrigueresque  tending  to  Baroque.  Exterior  Spanish 
Renaissance  and  Baroque — Paintings  in  Church  by  Cabrera. 


AFTER  THE  CONQUEST 


35 


little  later  Murillo  at  Seville  was  the  idol  of  the 
art  center  of  the  world.  Undoubtedly  canvasses  of 
both  masters  were  included  among  the  gifts  of  not 
only  Charles  V but  of  Philip  II,  patron  of  foreign 
masters  and  himself  both  painter  and  sculptor, 
and  equally  munificent  as  the  former  monarch 
towards  the  churches  of  New  Spain.  A beautiful 
painting  of  Our  Lady,  the  gift  of  Philip,  hung  in 
the  first  church  that  the  Jesuits  built  in  1557  in 
the  city  of  Guanajato.  This  picture  was  afterwards 
removed  to  the  church  of  San  Juan  de  Dios  in 
San  Francisco.  Charles  V sent  an  Assumption  by 
Murillo  to  the  chapter  house  of  Guadalajara  as  a 
token  of  gratitude  for  money  contributed  by  Mex- 
ican monks  to  help  resist  the  invasion  of  Mexico  by 
Napoleon  III.  It  is  a canvas  resembling  a remark- 
able way  the  famous  Assumption  in  the  Louvre. 
When  Maximilian  was  in  power  (1864),  there  was 
an  unsuccessful  attempt  to  remove  it  to  France 
and  hang  it  beside  the  Conception  in  the  Louvre. 
Later  the  church  authorities  refused  an  offer  of 
$75,000  for  it.  Fr.  Chanal  of  the  University  of 
Santa  Clara  reports  seeing  this  painting  at  Guada- 
lajara in  1914.  Among  other  gifts  of  Charles  V, 
was  an  altar-piece  of  a marble  Christ  sculptured  in 
high  relief  in  the  church  of  San  Francisco  in 


36  ART  OF  THE  OLD  WORLD  IN  NEW  SPAIN 


Mexico  City;1  or  the  beautiful  Flemish  tapestries 
on  the  walls  of  the  Cathedral  sacristy  in  Puebla 
were  sent  by  the  same  monarch,2  himself  a native 
of  Flanders.  The  subjects  of  the  tapestries  designed 
by  Rubens  are  characters  taken  from  classic 
mythology  and  seem  at  variance  with  the  sacred 
character  of  their  surroundings. 

The  church  of  El  Carmen  founded  at  Queretaro 
in  1614  and  at  present  considered  the  most 
“fashionable  and  aristocratic  church  in  the  city” 
possessed  in  early  colonial  times  three  or  four 
Murillos  painted  on  linen,  which  were  valued  by 
the  authorities  at  “many  thousands  of  pesos.” 
These  pictures  were  guarded  closely  by  the  super- 
iors of  the  community  to  prevent  unscrupulous 
villagers  from  stealing  them;  so  highly  were  they 
valued  that  the  officials  at  one  time  called  upon 
the  military  to  protect  them  from  theft.3  In  the 
convent  (which  is  now  entirely  gone),  there  was  a 
fine  Ascension  as  well  as  a Circumcision  both  by 
Murillo.  Mme.  Calderon  de  la  Barca,  wife  of  an 
official  in  Mexico  (1838-1841),  in  her  published 
letters  writes  of  the  ill  care  of  these  paintings  espe- 


dFiistoria  de  la  Pintura  en  Mexico,  note  120. 
JSpanish  Colonial  Architecture  in  Mexico,  p.  1 52. 
!La  Cruz,  vol.  1 5,  pp.  26-27. 


AFTER  THE  CONQUEST 


37 


dally  of  the  Circumcision  where  the  figure  of  the 
Jewish  priest  (whom  the  vandals  insisted  was  the 
Devil)  is  badly  mutilated.  This  author  mentions 
also  two  other  canvasses  of  merit,  a Descent  from 
the  Cross  in  the  same  church,  and,  in  the  Convent 
of  the  Profesa,  a Guido  Reni  representing  Christ 
bound  to  a pillar  and  scourged,  the  expression  of 
the  beautiful  tender  face  contrasted  strongly  with 
the  “savage  cruelty  in  the  countenances  of  his 
executioners.”1  Mme.  Calderon  herself  owned  an 
Annunciation  by  Bayeu,  the  Valencian,  a canvas 
which  she  claimed  was  brought  from  Spain  by  one 
of  the  early  missionaries.  In  the  chapter  room  of 
the  Mexican  Cathedral,  there  is  a Virgin  by 
Murillo  and  one  of  the  same  subject  by  Pietro 
de  Cortona. 

Perhaps  one  of  the  finest  of  the  “votive  offer- 
ings” ever  sent  out  of  Spain  is  an  Entombment 
ascribed  to  Titian  at  the  Church  of  San  Francisco 
in  the  village  of  Tzintzuntzan  near  Patzcuaro  in 
the  center  of  Mexico.  Due  to  the  remoteness  of  the 
village,  it  remained  undisturbed  in  the  search  for 
masterpieces  during  the  period  when  Mexico  was 
stripped  of  much  of  its  artistic  wealth  for  export. 
This  picture,  discovered  by  Mr.  Frederick  E. 


*Mme.  Calderon  de  la  Barca,  Life  in  Mexico,  vol.  II,  p.  9. 


38  ART  OF  THE  OLD  WORLD  IN  NEW  SPAIN 


Church  in  1884,  is  (if  not  destroyed  by  the  revolu- 
tionary soldiers  since  1915)  in  its  original  condi- 
tion, due  no  doubt  to  the  favorable  climate,  since 
the  clear  dry  air  circulates  through  the  open  win- 
dow of  the  room  in  which  it  is  hung.  Charles 
Dudley  Warner,  writing  in  1887,  in  his  Mexican 
Notes,  gives  a vivid  description  of  the  painting. 
“In  the  sacristy  adjoining  the  ancient  monastery 
is  the  treasure  of  Mexico.  The  picture  in  a splendid 
old  carved  frame  is  hung  over  the  vestment  chest. 
In  the  upper  left  hand  corner  is  a bit  of  very 
Titianesque  landscape.  On  a hill  are  three  crosses 
in  relief  against  an  orange  sky.  In  the  lower  left 
hand  corner  is  Mary  Magdalen  seated  on  the 
ground,  contemplating  the  nails  and  crown  of 
thorns.  The  figure  of  Christ  supported  on  a sheet 
is  being  carried  to  the  tomb — a dark  cavern  in  the 
rear.  Aiding  also  in  the  tender  office  is  a woman, 
her  head  bowed  over  the  dead  Christ.  Behind  are 
St.  John,  Mary  the  Virgin,  Mary  whom  Christ 
loved,  and  St.  Joseph.  As  you  study  the  picture 
you  have  no  doubt  that  it  is  an  original,  not  a 
copy;  . . . . it  is  in  a perfect  state  of  preser- 

vation. ” 

F.  Hopkinson  Smith  writes  more  fully  : “The 
picture  is  an  Entombment  sixteen  feet  long  by 


AFTER  THE  CONQUEST  39 

seven  feet  high.  Surrounding  the  dead  Christ 
wrapped  in  a winding  sheet,  one  end  of  which  is 
held  by  a disciple,  stand  the  Virgin,  Magdalen, 
Saint  John  and  nine  other  figures,  all  life-size. 
In  the  upper  left  hand  corner  is  a bit  of  blue  sky 
against  which  is  relieved  an  Italian  villa — the 
painter's  own,  a caprice  of  Titian's  often  seen  in 
his  later  works. 

“The  high  lights  fall  upon  the  arm  of  the  Savior 
drooping  from  the  hammock-shaped  sheet  in  which 
he  is  carried,  and  upon  the  head  covering  of  the 
Virgin  bending  over  him.  A secondary  light  is 
found  in  the  patch  of  blue  sky.  To  the  right  and 
behind  the  group  of  disciples  the  shadows  are  in- 
tensely dark,  relieving  the  rich  tones  of  the  browns 
and  blues  in  the  draperies,  and  the  flesh  tones  for 
which  the  artist  is  famous.  To  the  right  is  a figure 
supposed  to  be  that  of  the  donor,  Philip  II." 

Soon  after  its  discovery  it  was  removed  from  the 
sacristy  to  the  main  church  and  hung  in  a much 
less  favorable  light.  The  old  carved  frame  was  re- 
placed by  a glaring  modern  frame  of  white  and 
gold. 

The  Entombment  is  accredited  by  some  critics 
to  Echave,  the  Spanish  emigrant  painter  of  Mexico 
who  was  a skilful  imitator  of  Titian's  style;  others 


4o  ART  OF  THE  OLD  WORLD  IN  NEW  SPAIN 


attribute  it  to  Ibarra,  but  one  of  the  most  con- 
vincing arguments  that  it  was  painted  by  the  great 
master  is  found  in  a study  of  the  Titianesque  qual- 
ity of  glowing  transparency  which  distinguishes 
that  master's  painting  of  human  flesh.  This 
“golden  mellow  tone"  was  produced  without  the 
use  of  strong  contrasting  tones  of  color,  but  by  its 
division  into  many  small  but  “significant  shades" 
the  artist  obtained  the  life-like  quality  that  is  al- 
most startling.  The  nude  body  of  Christ  in  the 
Entombment  at  Tzintzuntzan  has  this  quality  to 
a marvelous  degree. 

In  contradiction  of  this  “proof"  some  critics 
maintain  that  the  painting  is  lacking  in  the  passion 
characteristic  of  figures  in  other  Entombments 
painted  by  the  master.  Mr.  Baxter  contrasts  the 
“chastened  prayerful  sorrow"  of  the  St.  John  in 
the  Tzintzuntzan  canvas  with  “the  frenzied  grief" 
of  the  same  figure  in  the  Louvre  Entombment.  In 
the  former  painting  two  figures  to  the  right  are 
supposed  to  be  two  portraits  representing  the  king 
and  Titian  himself  — the  likeness  of  the  latter  is 
unmistakably  the  very  young  Titian  and  might 
account  for  the  lack  of  passion  found  in  his  work 
of  a more  able  period.  The  resemblance  to  Philip  II 
is  not  strong  enough  for  evidence  and  the  likeness 


AFTER  THE  CONQUEST 


41 


of  the  younger  Titian  would  place  the  date  in  the 
period  of  Charles  V.  Philip  II  had  a deep  interest 
in  the  welfare  of  the  churches  in  New  Spain,  par- 
ticularly in  that  at  Tzintzuntzan,  through  his  re- 
gard for  Bishop  Quiroga  who  was  stationed  there 
(1538)  a few  years  after  his  consecration.  Charles 
V also  had  the  same  affection  for  Quiroga;  these 
facts  make  the  time  of  presentation  and  the  name 
of  the  donor  doubtful. 

Many  attempts  to  purchase  the  painting  have 
been  made.  It  is  reported  the  Archbishop  of  Mex- 
ico once  offered  $50,000  for  it  but  the  Indians  of 
this  little  squalid  village  stubbornly  refuse  to  part 
with  it.  They  worship  it,  steadfastly  refusing  per- 
mission to  copy  or  to  photograph  it. 

Although  importations  of  European  works  of 
art  had  virtually  ceased  by  the  end  of  the  seven- 
teenth century  the  interest  of  the  Spanish  mon- 
archs  in  the  decoration  of  the  colonial  churches 
still  remained;  as  late  as  1774  Charles  III  com- 
manded Vallejo,  a prominent  artist  of  the  Mexican 
School,  to  paint  a picture  of  the  Virgin  for  the 
College  of  Ildefonso. 

Probably  one  of  the  last  masterpieces  to  reach 
Mexico  from  Spain  as  a votive  offering  is  the 
“Madonna  of  the  Ring,”  painted  by  Antonio  Palo- 


42  ART  OF  THE  OLD  WORLD  LN  NEW  SPAIN 


mino  (1653-1726)  in  the  latter  part  of  the  seven- 
teenth century.  This  canvas,  one  of  the  many 
taken  away  from  Mexico,  now  hangs  in  the  South- 
west Museum  at  Los  Angeles.  The  composition  is 
unusual  since  only  the  head  and  one  shoulder  of 
both  the  Madonna  and  the  Infant  appear  in  the 
painting.  Both  faces  are  of  Spanish  type  and  the 
technique  Spanish,  but  a wreath  of  flowers  sur- 
rounding the  composition  suggests  Flemish  in- 
fluence. The  garland,  however,  may  have  been 
added  to  the  original  work  sometime  later. 

During  the  latter  part  of  the  seventeenth  cen- 
tury many  valuable  silver  mines  were  discovered, 
and  the  bonanza  kings,  fabulously  rich,  erected 
churches  near  their  mines  as  votive  offerings  for 
their  good  fortune,  but  by  that  time  New  Spain 
was  filling  the  need  for  decoration,  not  only  for 
religious  houses,  but  for  the  palaces  and  other 
buildings,  through  her  own  masters  and  the  work 
of  her  native  schools. 

It  is  a sad  commentary  upon  the  political  con- 
dition of  Mexico  at  the  time  that  so  little  is  left  to 
tell  the  story  of  artistic  interest  during  the  colonial 
period.  Taking  advantage  of  the  poverty  and  the 
general  unrest  of  the  Mexicans  during  successive 
revolutions,  speculators  bought  from  their  owners, 


THE  CAMARIN 

Seminary  of  San  Martin,  Mexico — Polychrome  Statuary. 


AFTER  THE  CONQUEST 


43 


often  for  trifling  sums,  priceless  treasures  of  Mex- 
ico. In  i860,  an  expert  critic,  in  an  examination  of 
over  two  thousand  paintings,  discovered  but  a few 
of  European  origin,  yet  the  colonial  period,  under 
the  patronage  of  the  Viceroys,  was  rich  in  its  na- 
tive art.  Not  only  the  finest  of  the  canvasses  im- 
ported from  Spain,  but  much  of  the  best  of  the 
native  Mexican  art  was  bought  and  sent  to  Europe 
to  be  disposed  of  in  foreign  markets.  After  the 
secularization  of  monasteries  and  convents  in 
Mexico  in  1856  much  of  what  remained  from  the 
spoil  of  the  foreigner  was  left  to  decay  through  the 
ill  care  afforded  to  some  of  the  crumbling  buildings. 
The  monastery  of  LaCruz,  one  of  the  largest  of  the 
conventual  buildings,  filled  with  paintings  and 
other  works  of  art,  has  for  some  time  been  in  ruins. 
Defacement  and  destruction  of  much  that  was 
beautiful  is  due  to  the  ruthlessness  of  the  revolu- 
tionary soldiers  lodged  in  the  cloisters  and  other 
places  sacred  to  the  Mexicans. 

With  the  conversion  of  the  religious  buildings  to 
municipal  use,  the  gold  plating  of  high  altars  and 
of  statues,  together  with  all  of  the  exquisite  and 
costly  decorations  of  the  interior  walls,  disappeared, 
confiscated  by  the  revolutionists.  Among  these 
“converted”  buildings  is  the  ancient  church  of  San 


44  ART  OF  THE  OLD  WORLD  IN  NEW  SPAIN 


Jose,  built  according  to  the  story  of  the  conquista- 
dores,  on  the  site  of  an  old  palace  of  Montezuma. 
It  was  in  this  church  the  missionaries  gave  the 
Indians  their  first  artistic  training;  today  it  is  used 
as  the  public  healthquarters  of  the  City  of  Mexico, 
the  main  chapel,  in  which  Padre  de  Gante  four 
centuries  ago  established  the  first  art  school,  serv- 
ing as  a public  library. 

In  the  city  of  Guanajuato,  there  is  still  standing, 
however,  untouched  by  the  hand  of  the  despoiler 
or  invader,  the  beautiful  church  of  San  Cayetano, 
built  by  Antonio  Obregon  to  commemorate  the  dis- 
covery of  the  Valencia  mines.  This  church,  begun 
in  1765  but  not  completed  until  twenty  years  later, 
is  an  interesting  example  of  the  lavishness  of  the 
wealthy  Mexican  bonanza  kings  of  that  period  in 
their  votive  offerings  to  the  church.  “The  high 
altar  is  heavy  with  silver;  piers,  arches  and  roofs 
are  elaborately  carved  and  show  the  individuality 
of  the  artisans  and  the  inlaid  pulpit  is  one  of  the 
finest  in  Mexico;”1  time  has  but  mellowed  its  col- 
oring, and  has  taken  nothing  from  the  graceful 
outlines  of  its  walls.  Mr.  Baxter  states  that  at  one 
time  after  the  War  of  Reform  it  was  proposed  to 
scrape  all  the  heavy  ornamentation  from  the  walls  of 


iHistoria  de  la  Pintura. 


AFTER  THE  CONQUEST 


45 


the  chapel  of  the  Virgin  of  the  Rosary  at  Oaxaca  in 
order  to  obtain  the  gold  from  the  heavy  gilding; 
fortunately  this  vandalism  was  not  carried  very 
far  before  it  was  stopped  by  the  authorities  and 
the  walls  remain  as  a witness  of  the  magnificent 
interior  decoration,  of  the  religious  buildings  of 
early  Conquest  days. 


OLD  MEXICAN  SCHOOL 


TT HE  identity  of  the  first  Spanish  painter  and 
the  date  of  his  arrival  in  Mexico  are  shrouded  in 
mystery.  Cortina  is  responsible  for  the  story  that 
Rodrigo  de  Cifuentos,  born  in  Cordova  in  1493, 
came  to  Vera  Cruz  in  1532  and  worked  under  the 
auspices  of  Cortes;  afterward  he  taught  the  natives 
to  paint  in  the  first  school  established  in  1523  by 
Pedro  de  Gante,  and  later  Cortes  sent  him  to  Hon- 
duras where  he  decorated  many  churches  and 
chapels.  De  Cifuentos  evidently  painted  on  his 
journey  to  Honduras  on  his  return;  since  Cortina 
credits  him  with  the  decoration  of  the  Franciscan 
church  at  Tehuantepec  as  well  as  of  other  religious 
buildings.  He  also  is  said  to  have  decorated  the 
house  of  Cortes.  Besides  his  fame  as  a mural 
painter  De  Cifuentos  had  a reputation  as  a portrait 
painter  and  in  1538  was  doing  his  best  work  — The 
Baptism  of  Magiscatzin  (probably  an  Indian  chief) 
and  the  portrait  of  Doha  Marina,  the  Indian 
woman  who  interpreted  for  Cortes,  both  painted 
during  that  year,  were  said  to  be  in  the  convent  of 
Tlaxcala  as  late  as  i860.1  The  portrait  of  Cortes 

^istoria  de  la  Pintura. 


[46] 


“The  Presidio  of  Monterrey,  California.” 


OLD  MEXICAN  SCHOOL 


47 


painted  about  the  same  time  as  that  of  Marina  has 
disappeared.  Some  of  the  finest  portraits  are  among 
those  of  the  early  viceroys  in  the  Palacio  Munici- 
pal in  the  City  of  Mexico;  at  the  San  Carlos  Acad- 
emy there  is  also  an  interesting  painting  of  Cortes 
on  his  knees  returning  thanks  for  the  conquest  of 
new  territory.  According  to  Terry,  the  Baptism  of 
Magiscatzin  was  still  in  the  old  church  of  San 
Francisco,  Tlaxcala,  in  1909.  Cortina’s  story  of  the 
date  of  the  arrival  of  Cifuentos  is  disputed  by  Fray 
Valdes,  who  could  find  no  record  of  De  Cifuentos’ 
name  in  the  list  of  those  who  accompanied  Cortes, 
although  many  less  famous  than  he  are  mentioned, 
but  Fray  Valdes  would  give  credence  to  the  report 
since  Cortina  was  “a  man  of  honor.”  In  his  signa- 
ture De  Cifuentos  made  use  of  his  initials,  thus 


Count  Beltrami,  the  art  critic,  believes  Sebas- 
tian Arteaga  came  first  and  after  him  Cristoval 
de  Villapando.  As  sufficient  proof  of  the  statement 
in  regard  to  Arteaga,  Beltram  cites  the  “superb 
work”  of  the  latter  in  the  old  Santa  Teresa  convent 
and  in  the  chapels  of  San  Francisco  and  San  Agus- 


48  ART  OF  THE  OLD  WORLD  IN  NEW  SPAIN 


tin.  Arteaga,  an  officer  of  the  Inquisition,  always 
used  the  signature  “Notario  del  Santo  Officio. ” 
His  official  duties  left  scant  time  for  his  art;  so  al- 
though he  was  painting  as  late  as  1643  verY  little 
of  his  work  or  that  of  any  of  his  followers  remains. 
The  Christ  of  St.  Thomas  and  the  Los  Deposorios 
de  la  Virgen,  both  at  the  San  Carlos  Academy, 
show  his  vigor  of  drawing.  There  is  also  a St. 
Thomas  at  the  National  Museum.  It  is  not  known 
whether  Arteaga  was  of  Spanish  or  Mexican  origin. 

Villapando,  supposed  to  have  been  born  in  1649, 
died  in  1714.  Other  critics  place  Andres  de  Concha 
immediately  after  Rodrigo  de  Cifuentos.  The  tem- 
porary building  erected  in  1599  in  which  the 
memorial  services  for  Philip  II  were  held  was  orna- 
mented by  de  Concha.  Some  of  his  best  paintings 
are  on  the  high  altar  of  the  church  of  Santo  Do- 
mingo, Yauhuitlan,  Oaxaca.  Another  of  the  very 
early  painters,  but  later  than  those  mentioned,  is 
the  Flemish  Simon  Pereyns,  born  in  Antwerp;  a 
Virgin  and  a Child  at  San  Carlos  Academy  bearing 
decided  Flemish  characteristics  is  attributed  to  him. 
This  is  supposed  to  be  the  painting  he  was  sen- 
tenced to  make  after  his  trial  for  heresy.  Contempo- 
rary with  Villapando,  Juan  Correa  did  notable  work; 
they  painted  together  the  six  large  works  in  sac- 


OLD  MEXICAN  SCHOOL 


49 


risty  of  the  Cathedral  at  Mexico  and  they  also  dec- 
orated the  Chapel  of  the  Kings  at  Puebla  Cathedral. 

The  first  reliable  information  of  a Spanish 
painter  working  in  Mexico  is  in  the  letter  from 
Jose  de  Ibarra  in  the  early  part  of  the  eighteenth  cen- 
tury to  a fellow  artist,  Cabrera.  Ibarra  states  that 
Reino  Alonso  Vasquez,  a native  of  Seville,  brought 
fine  technique  from  Spain,  long  before  any  of  the 
other  seventeenth  century  painters  were  at  work, 
and  fixes  an  approximate  date  by  stating  that  the 
last  work  of  Vasquez  was  a “votive  offering”  of  a 
series  of  pictures  presented  to  the  Chapel  of  St. 
Catherine  by  a Viceroy  who  governed  between 
1603  and  1607.  These  paintings  Ibarra  reports 
were  at  one  time  on  the  high  altar  of  the  chapel  at 
the  University  but  nothing  remains  of  them.  There 
are  two  large  paintings,  an  Assumption  and  a 
Resurrection  attributed  to  Vasquez. 

Between  1600  and  1700,  especially  during  the 
first  half  of  the  century,  there  were  a number  of 
artists  of  great  merit,  emigrated  from  Spain,  who 
undoubtedly  had  been  trained  under  European 
masters  of  the  period,  from  the  resemblance  of 
their  work  to  that  of  these  masters,  and  the  diffi- 
culty which  followed  in  distinguishing  the  old  world 
from  the  new  world  work. 


50  ART  OF  THE  OLD  WORLD  IN  NEW  SPAIN 


A new  era  in  Mexican  art,  however,  begins  with 
the  painting  of  Baltasar  Echave,  called  El  Viejo 
the  elder,  to  distinguish  him  from  his  son,  a 
young  contemporary  of  Vasquez  and  a close  stud- 
ent and  follower  of  Titian,  and  now  recognized  as 
founder  of  the  Old  Mexican  School.  Echave  emi- 
grated from  Zumaya,  in  the  province  of  Guipuzcoa 
in  Spain  early  in  1600,  since  there  is  record  of  a 
treatise  on  the  ancient  language  in  Cantabria 
published  by  him  in  1607.  He  painted  a San  Cristo- 
bal in  1601  as  signed,  and  at  the  National  Museum 
an  interesting  old  altar-piece  signed  in  1609,  orig- 
inally in  Tlatelolco,  was  brought  to  the  museum  in 
the  year  that  Echave  painted  it.  The  description 
on  the  altar-piece  “La  Visitation”  according  to  the 
critics  is  considered  one  of  his  two  best  works,  for 
its  vigor  of  drawing;  the  figure  of  Elizabeth  is  not 
that  of  an  old  woman  but  still  does  not  seem  in- 
ferior in  interest  to  that  of  the  Virgin;  the  grace 
and  delicacy  of  head  and  hands  show  influence  of 
Murillo;  the  flare  of  the  Virgin’s  sleeve  and  the 
modeling  of  the  drapery,  though  somewhat  stiff, 
are  also  after  Murillo;  the  coloring  is  distinctly 
Titian.  Instead  of  on  canvas  the  picture  is  painted  on 
cedar,  as  many  of  the  paintings  of  that  period  were, 
because  of  the  supposition  that  cedar  would  be  more 


“The  Mission  of  San  Carlos  near  Monterrey.” 


OLD  MEXICAN  SCHOOL 


5i 


enduring  in  the  humid  climate.  Another  notable 
work,  also  signed  by  Echave,  was  on  the  same  altar 
at  Tlatelolco  — a Virgin  in  the  Rafaelesque  man- 
ner. This  painting,  however,  was  not  brought  to 
the  Museum  until  after  the  La  Visitacion  was  taken 
there. 

Echave  was  a prolific  painter,  his  period  cover- 
ing nearly  forty  years  (1600-1640).  Like  that  of 
all  great  masters  his  work  varied  in  successive 
periods,  according  to  the  emphasis  placed  on  com- 
position, color,  drawing  or  other  characteristic 
phases  of  technique  of  his  painting.  Many  of  the 
churches  until  recently  had  much  of  his  work.  In 
the  National  Museum  besides  the  two  paintings 
mentioned,  there  are  also  a Holy  Family,  an 
Adoration  of  the  Magi,  a Martyrdom  of  St.  Pon- 
ciano,  a Christ  on  the  Mount  of  Olives,  and  a St. 
Cecilia  brought  from  the  church  of  San  Agustin, 
City  of  Mexico,  and  considered  as  fine  as  old  world 
work.  Contrary  to  the  usual  custom  of  the  early 
Mexicans,  Echave  signed  many  of  his  canvasses, 
but  the  Holy  Family  and  the  St.  Cecilia,  originally 
in  the  Profesa  before  being  taken  to  the  Museum, 
are  unsigned.  Although  they  are  among  the  best 
of  his  earliest  work  in  point  of  originality  and 
composition,  the  Triumph  of  Mary,  Faith  De- 


52  ART  OF  THE  OLD  WORLD  IN  NEW  SPAIN 


stroying  Idolatry,  and  several  allegorical  pictures 
are  at  Puebla.  Modern  critics  agree,  however,  his 
best  remaining  work  is  his  Oracion  del  Huerto  at 
the  San  Carlos  Academy. 

Baltazar  Echave  el  Mozo  (the  younger)  failed 
to  achieve  the  success  of  his  father;  he  inherited 
neither  the  imagination  nor  the  ability  of  the 
latter.  The  Triumph  of  the  Church  and  the  Tri- 
umph of  Religion  in  the  Sacristy  of  the  Puebla 
Cathedral  and  the  canvas  of  the  Resurrection 
signed  in  1669,  now  at  the  San  Carlos  Academy, 
are  probably  his  best  works. 

Following  the  period  of  Echave,  Pedro  Garcia 
Ferrer,  a noted  painter  and  architect,  arrived  from 
Spain  in  1640  to  decorate  the  Cathedral  at  Puebla. 
He  remained  but  a short  time,  however,  and  the 
only  record  of  his  work  is  the  six  paintings  over 
the  Altar  of  the  Kings  — No  doubt  the  archaic 
characteristics  of  these  paintings  influenced  greatly 
the  work  of  the  native  artists  in  that  city. 

In  the  history  of  the  Old  Mexican  School  the 
names  of  but  two  women  artists  are  recorded — 
La  Zumaya  (probably  named  for  her  native  town), 
wife  of  Echave  the  elder,  and  Juana  Inez  de  la 
Cruz,  Carmelite  nun  and  a poetess,  artist  and 
writer  of  great  merit. 


OLD  MEXICAN  SCHOOL 


53 


The  story  of  La  Zumaya  reads  like  a romance 
as  told  by  Cayetano  Cabrera  in  his  Escudo  de 
Armas  de  Mexico.  She  is  supposed  to  have  lived 
in  the  early  part  of  1600  since  she  was  painting  at 
the  same  time  as  her  husband.  She  was  not  only 
an  excellent  copyist  but  did  creative  work  as  well 
and  painted  as  he  did  in  both  the  Dutch  and  Ital- 
ian manner.  One  of  her  best  pictures,  a St.  Sebas- 
tian showing  the  influence  of  the  Valencian  School, 
and  much  admired  by  artists  of  her  period,  is  hung 
on  the  Altar  of  Pardon  in  the  Cathedral  of  Mexico; 
unfortunately  like  many  of  the  other  old  paintings 
it  is  hung  very  high  and  covered  with  glass  which 
prevents  critical  study  of  the  canvas.  Over  another 
altar  in  the  same  Cathedral  there  is  a series  of  her 
paintings  illustrating  events  in  the  life  of  the 
Virgin.  Cabrera  also  declares  that  this  artist  “was 
not  only  mistress  of  painting  but  vouches  for  the 
old  tradition  in  Mexico  that  she  taught  her  hus- 
band to  paint.” 

The  existence  of  La  Zumaya  however  is  not 
credited  by  Mr.  Baxter,  who  quotes  the  scholar 
M.  de  Agueda  as  showing  there  never  was  a La 
Zumaya  as  the  records  prove  that  Echave  was 
married  twice  but  neither  wife  bore  that  name. 
The  San  Sebastian  on  the  Altar  of  Pardon  is  at- 


54  ART  OF  THE  OLD  WORLD  IN  NEW  SPAIN 


tributed  by  Mr.  Baxter,  to  Echave  himself.  The 
confusion  between  the  name  of  the  birthplace  of 
Echave  and  of  his  artist  friend  Francisco  Zumaya 
may  account  for  the  story. 

Juana  de  la  Cruz,  better  known  as  a writer  of 
exquisite  verse  than  as  a painter,  although  equally 
gifted  in  both  arts,  came  a little  later  than  the 
period  of  Echave.  She  was  born  in  1651  at  Ne- 
pantla,  a small  town  near  the  City  of  Mexico,  and 
died  there  in  1697.  Her  work  as  a painter  is  not 
well  known,  since  so  little  of  it  remains.  In  Mem- 
orial Hall,  Philadelphia,  there  is  however  a copy  of 
her  portrait  painted  by  herself  with  an  inscription 
beneath  the  picture  showing  the  estimation  of  her 
contemporaries.  The  translation  reads  “The  Rev- 
erend Mother  Juana  de  la  Cruz,  Phoenix  of 
America,  glorious  perfection  of  her  sex,  honor  of 
the  nation  of  the  new  world,  and  subject  of  the 
admiration  and  praises  of  the  old.”  Besides  this 
portrait  the  only  other  example  of  her  work  is  in  the 
church  of  San  Francisco  de  Asisi,  a fine  Aparicion 
de  Cristoy  la  Virgen.  A lifelike  painting  of  Juana  by 
Cabrera  hangs  in  the  National  Museum  of  Mexico. 

The  art  of  New  Spain  at  this  period  though  far 
inferior  to  that  of  Europe  and  having  many  char- 
acteristics of  the  old  world  work  (especially  of  the 


OLD  MEXICAN  SCHOOL 


55 


schools  of  Seville  and  Madrid),  yet  had  distinctive 
characteristics  of  its  own.  Many  of  the  painters 
were  trained  under  and  copied  the  technique  of  the 
masters  of  those  schools.  The  coloring  was  par- 
ticularly vivid  and  perhaps  of  indifferent  merit 
yet  the  work  was  a great  advance  over  the  art 
taught  by  their  predecessors  in  the  mission  schools. 
There  were  no  facilities  for  technique,  but  few 
models,  and  the  painters  naturally  must  have 
worked  in  a restricted  way — yet  the  results  show 
genius  and  strength,  even  if  the  taste  of  the  epoch 
was  confined  to  impressions  of  what  the  artists 
had  seen  in  Spain. 

Professor  K.  L.  Deisler  of  New  York  some  years 
ago  brought  from  old  Mexico  a most  unusual 
painting  of  a Winged  Madonna1  which  is  also 
evidently  a product  of  this  period  of  Mexican  art. 
The  picture  is  a fine  example  of  the  Murillo  School 
supposedly  by  the  master  or  one  of  his  pupils.  It 
measures  i6>^  by  12^2  inches,  done  on  copper  as 
were  some  of  the  old  Spanish  paintings  of  the 
period,  and  is  in  a remarkable  state  of  preservation. 
The  figure  of  the  Madonna  winged  and  crowned 
with  stars  is  represented  poised  on  the  body  of  a 
serpent.  The  theme  is  taken  from  the  Apocalypse, 

international  Studio.  November,  1913. 


56  ART  OF  THE  OLD  WORLD  IN  NEW  SPAIN 


Chapter  XII.  Verse  i refers  to  a “crown  of  twelve 
stars”:  in  the  painting  however  one  of  the  stars  is 
missing,  either  concealed  by  the  body  of  the  Child 
or  as  has  been  suggested,  “purposely  omitted  be- 
cause Judas  turned  traitor.”  The  explanation  of  the 
appearance  of  the  Child  is  found  in  Verse  5.  “And 
she  brought  forth  a man  child,  who  was  to  rule 
all  nations  with  an  iron  rod.”  Verse  14  is  authority 
for  the  wings:  “And  there  to  the  woman  were  given 
two  wings  of  a great  eagle  that  she  might  fly  into 
the  desert  unto  her  place  where  she  is  nourished 
for  a time  and  times  and  half-a-time  from  the  face 
of  a serpent.”  St.  John,  a very  small  figure  compared 
with  the  figure  of  the  Madonna,  is  represented  in 
the  picture  upper  right  hand  corner,  a pen  held 
in  his  hand  and  an  eagle  is  perched  by  his  side, 
emphasizing  the  identity  of  the  saints.  Glowing 
sunset  in  the  background  makes  a fine  setting  for 
the  rich  coloring  of  the  picture. 

The  head  of  the  Virgin  is  certainly  after  the 
Murillo  type;  the  hands  are  characterized  by  the 
long  index  fingers  as  in  the  canvas  of  the  Im- 
maculate Conception,  which  the  Winged  Madonna 
resembles  strongly  in  treatment  of  drapery  and  of 
pose.  The  drawing  of  the  hands  and  the  placing 
of  God  the  Father  above  the  head  of  the  Virgin 


OLD  MEXICAN  SCHOOL 


57 


make  this  Madonna  very  similar  to  that  of  the 
Murillo  at  the  Hermitage,  but  the  shortened  figure 
and  exposed  feet  mark  a lack  of  the  dignity  which 
characterized  Murillo’s  masterpieces.  Then  the 
fact  that  the  St.  John  and  God  the  Father  as  well 
as  the  Infant  are  so  greatly  out  of  proportion  to 
the  heroic  size  of  the  Madonna,  all  point,  perhaps 
to  imitation  of  an  earlier  Italian  master. 

It  is  claimed  there  is  no  example  of  the  Winged 
Madonna  to  be  found  in  any  of  the  European 
galleries,  but  in  the  National  Museum,  City  of 
Mexico,  there  is  a beautiful  Virgin  of  the  Apo- 
calypse by  Cabrera  and  there  is  also  a mural  of 
the  same  subject  in  the  Franciscan  Cathedral  at 
Guernavaca  founded  in  1529.  At  the  Mission  Inn 
there  are  three  canvasses,  painted  about  1700,  of 
the  same  subject  namely  the  Woman  of  the  Apo- 
calypse (i8j£  and  15),  the  Woman  of  the  Book  of 
Revelation  (13  x 9)  and  Woman  of  the  Apocalypse 
(63  x 39); all  are  crowned  with  stars  and  exactly  fit 
the  text  in  the  twelfth  chapter  of  the  Apocalypse. 
These  paintings  were  brought  from  Mexico. 

The  Exposition  Museum  at  Los  Angeles  has 
also  recently  acquired  a very  beautiful  Virgin  of 
the  Apocalypse  which  is  reported  to  have  been 
brought  from  Spain  to  the  Capuchin  Convent 


58  ART  OF  THE  OLD  WORLD  IN  NEW  SPAIN 


of  Queretaro  by  the  first  missionary  padres.  It  is 
circular  in  form,  painted  on  beaten  copper  and  in 
technique  corresponds  with  the  painting  mentioned 
above.  The  figure  and  the  pose  of  the  Virgin  are 
the  same  in  both  works,  but  a larger  grouping  of 
saints  is  in  the  latter.  The  drawing  of  the  hands  and 
feet  is  exquisite,  the  flesh  tones  are  exceedingly  well 
done,  and  the  brilliancy  of  coloring  of  robes,  golden 
stars  and  the  halos  of  the  Virgin  and  Child  remark- 
able, but  the  figure  of  the  Virgin  is  much  fore- 
shortened and  the  wings  extremely  large  in 
proportion.  A round  brass  frame, beautifully  carved, 
is  in  itself  an  evidence  of  the  work  of  some  master. 

Among  other  masterpieces  at  the  Exposition 
Museum,  Los  Angeles,  there  are  two  large  can- 
vases (artists  unknown),  the  Magdalen  in  the 
Cave  and  Santa  Restituta,  both  excellent  examples 
of  the  early  Mexican  School.  From  the  drawing  and 
composition  they  belong  to  the  early  seventeenth 
century  but  under  the  influence  of  another  master 
than  Murillo.  The  Magdalen  is  represented  in  a 
cave  where  she  retired,  according  to  the  tradition, 
after  the  resurrection  and  ascension  of  Christ.  While 
the  coloring  in  this  work  is  subdued  for  that  period 
of  vivid  brush,  the  artist  must  have  understood  the 
chiaroscuro  of  Corregio  as  is  suggested  in  the  han- 


SANTA  CRUZ  MISSION,  CALIFORNIA 
After  the  earthquake  of  1840,  showing  the  figure  of  the  Virgin  on  the  altar, 
the  pulpit  and  sanctuary  rails.  Pen  sketch  by  Miss  Howard,  from  a painting 
belonging  to  Mrs.  Cornelia  Kirby  Brown  of  Berkeley,  California. 


OLD  MEXICAN  SCHOOL 


59 


dling  of  the  cherubs  in  the  dim  light  of  the  cave. 

The  second  painting  represents  the  Apparition 
of  the  Angel  Gabriel  to  Santa  Restituta  (Saint 
Restored)  in  the  dungeon.  Santa  Restituta  (a 
Christian  maiden  and  daughter  of  a Roman  patri- 
cian of  the  third  century)  because  of  her  faith  was 
confined  in  a dungeon,  loaded  with  chains  and 
compelled  to  remain  without  food  or  drink  for 
seven  days.  A celestial  light  which  fills  the  prison 
cell  heralds  the  coming  of  the  Archangel  who 
breaks  her  chains  and  gives  her  food  and  light  and 
liberty.  The  attire  of  a Roman  Virgin  fixes  the 
date  as  the  third  century.  The  two  figures  com- 
pletely dominate  the  canvas,  that  of  a soldier  on 
the  right  of  the  maiden,  being  subordinate  to  them. 
The  drawing,  especially  of  the  archangel,  is  exceed- 
ingly spirited,  the  brilliancy  of  the  halo  about  the 
headofthemaiden,  thegolden  tracery  andfigures  and 
vividness  of  coloring  in  the  robes  of  the  two  Saints 
being  exceedingly  decorative.  Both  paintings  were 
brought  by  the  original  owner  Don  Antonio  Coronel 
of  Los  Angeles  from  the  Capilla  Real  or  Iglesia  de 
los  Naturales  (Church  of  the  Natives)  at  Cholula 
in  1895,1  an  overflow  for  the  Franciscan  Church 


OThe  pictures  at  the  present  time  belong  to  the  collection  of  Mr.  S.  C. 
Evans  of  Riverside,  California,  by  whom  they  are  loaned  to  the  Museum. 


6o  ART  OF  THE  OLD  WORLD  IN  NEW  SPAIN 


built  in  1524  by  order  of  Cortes  for  the  Indians. 
The  paintings  are  of  corresponding  size  and  shape 
and  may  have  been  placed  on  the  stairway  or  cor- 
ridor of  the  same  building  previous  to  their  being 
brought  to  the  Capilla  Real. 

One  of  the  most  brilliant  painters  of  this  time 
was  a follower  of  the  Dutch  School,  Juan  de 
Herrera,  called  Juan  the  Divine,  as  Luis  Morales 
was  named  in  Spain  in  the  preceding  century.  In 
breadth  of  technique  and  brilliancy  of  coloring 
Juan  followed  in  artistic  feeling  the  example  of 
his  probable  Spanish  relative  the  bizarre  Francisco 
Herrera  (1576-1656),  considered  by  some  Spanish 
critics  as  the  founder  of  the  Spanish  National  type. 
Twelve  small  paintings  of  martyrs  at  the  Cathedral 
in  the  City  of  Mexico,  dated  1698,  are  all  that  is 
left  of  his  work.  At  the  convent  of  Puebla  there 
were  large  pictures  of  the  subjects  treating  of  the 
Franciscan  order,  and  in  other  convents  a great 
deal  of  this  mural  work. 

The  great  number  of  paintings  that  decorated 
the  stairways  and  cloisters  of  religious  buildings, 
especially  in  the  convent  of  Puebla,  Santa  Rosa, 
and  others  at  Queretaro,  and  at  Cholula  showed 
the  religious  fervor  and  zeal  of  the  painters  who 
founded  the  Old  Mexican  School.  Count  Beltrami 


OLD  MEXICAN  SCHOOL 


6 1 


mentions  the  Jesuit  Father  Manuel  painting  dex- 
trously  with  both  hands,  as  ranking  very  high  and 
gives  a Holy  Family  (formerly  on  the  stairway  of 
the  College  at  San  Gregorio  but  now  at  the  School 
of  Medicine)  which  he  considers  very  beautiful  as 
an  example  of  his  work. 

Nicolas  Becerra,  who  came  from  Spain  in  the 
latter  part  of  the  seventeenth  century,  was  one  of 
the  painters  remarkable  in  this  period  since  he 
anticipated  in  his  technique  the  later  school  of  the 
eighteenth  century.  Dissolute  in  his  youth,  he  be- 
came in  his  later  life  a Franciscan  friar  and  after- 
ward devoted  his  talent  exclusively  to  the  needs 
of  the  church.  His  only  paintings  in  existence  are 
two  from  the  series  representing  events  in  the  life 
of  St.  Francis  painted  for  the  Convent  of  San 
Francisco.  These  are  now  in  a private  collection. 
But  the  most  able  man  of  this  group  was  Juan 
Rodriguez  Juarez,  the  “Appelles  of  Mexico,”  one 
of  a family  of  painters  that  included  his  brother 
Nicolas  Juarez,  portrait  painter  of  merit,  and  Luis 
Juarez  his  cousin  who  belonged  to  the  school  of 
Echave.  All  three  are  represented  at  the  National 
Museum.  Rodriguez,  born  in  1676,  lived  but  fifty- 
two  years  and  still  there  are  two  distinct  epochs 
in  his  work  with  seemingly  a century  between 


62  ART  OF  THE  OLD  WORLD  IN  NEW  SPAIN 


them.  From  the  beginning  he  had  used  the  best 
of  all  schools,  following  the  Caracci  or  the  Eclectic 
School,  but  in  the  latter  part  of  his  life,  his  color 
became  more  intensive,  like  that  of  the  schools  of 
Seville  and  Madrid.  He  was  the  first  painter  to 
show  the  influence  of  Murillo.  On  the  altar  of  the 
kings  in  the  Cathedral  of  San  Carlos  there  is  an 
Epiphany  in  which  Rodriguez  has  painted  a por- 
trait of  himself  as  Botticelli  did  over  half  a century 
before  in  his  Birth  of  Christ.  In  this  picture  the 
artist  represents  himself  in  armor  with  a blue  sash 
draped  from  his  shoulders  over  his  back  somewhat 
after  the  Botticelli  style.  There  is  also  in  the 
Academy  a half  length  portrait  of  Rodriguez  in  a 
blue  coat  which  critics  say  has  a striking  resemb- 
lance to  the  Epiphany  figure.  The  Cathedral  also 
possesses  a Santa  Teresa  and  a St.  Joseph  but 
they  are  hung  very  high  and  it  is  impossible  to 
study  them  critically.  The  work  at  the  National 
Museum  because  of  its  indifferent  merit  does  not 
represent  him  carefully.  By  some  critics,  his  master- 
piece is  considered  to  be  the  beautiful  Adoration 
of  the  Kings  on  the  high  altar  of  the  chapel  of 
Los  Reyes  in  the  Cathedral  at  Mexico,  but  two 
of  his  best  works  are  the  two  large  pictures  in  the 
Church  of  St.  Augustine  at  Queretaro,  a colossal 


MISSION  SAN  JUAN  CAPISTRANO,  CALIFORNIA 
Founded  1776.  Note  carving  over  the  lintel  of  the  old 
doorway.  Aztec  influence. 


OLD  MEXICAN  SCHOOL 


63 


St.  Christopher  and  the  Vision  of  St.  Gertrude 
Contemplating  St.  Augustine  in  Heaven.  These 
pictures  were  hung  in  the  doorway  of  St.  Augus- 
tine (founded  in  173 i),1  which  was  appropriated 
by  the  government  long  ago  for  municipal  use. 

Like  his  brother  Nicholas  the  priest,  Juarez 
painted  many  portraits  of  distinction.  Among  them 
are  two  hung  in  the  Convent  of  Carmen,  both 
notable  for  their  truthful  delineation,  a full  length 
canvas  of  the  Viceroy  Duke  of  Linares  and  one  of 
Marquis  de  Altamira. 

The  remarkable  change  from  the  relative  sober- 
ness of  the  seventeenth  century  coloring  to  the 
intensive  brilliancy  introduced  by  Juarez  is  ac- 
counted for  in  various  ways.  Some  critics  claim  it 
was  the  result  of  direct  inspiration  through  the 
canvasses  of  Murillo  sent  to  the  Indies  and  which 
afterward  reached  Mexico.  Others  claim  it  was  due 
to  still  another  source.  At  this  time  there  was  a 
D.  Gabriel  Murillo,  reputed  to  be  the  eldest  son 
of  the  Master  Bartolome  Murillo,  painting  in  the 
West  Indies.  There  is  a conjecture  that  his  work 
after  reaching  Mexico  became  confused  with  that 
of  Murillo  himself  and  alone  was  responsible  for 

muring  the  Diaz  administration  a federal  telegraph  office  was  installed; 
at  the  same  time  the  front  was  remodeled. 


6\  ART  OF  THE  OLD  WORLD  IN  NEW  SPAIN 


the  entire  change  of  manner  which  took  place 
later.  However  this  is  an  unsupported  theory  since 
there  is  no  definite  knowledge  that  the  Murillo 
of  the  West  Indies  was  in  any  way  connected  with 
the  artist  in  Spain.  From  whatever  source  Juarez 
derived  his  knowledge  of  technique,  his  new  ideas 
attracted  many  followers.  Living  through  the  whole 
transition  period,  he  revolutionized  the  technique 
of  his  predecessors  and  became  the  founder  of  the 
new  Mexican  School  of  the  eighteenth  century. 

Many  of  the  new  school  exceeded  Juarez  in 
brilliancy  of  color,  especially  Jose  Ibarra,  the 
Murillo  of  Mexico,  whose  extensive  use  of  vivid 
reds  and  blues  was  an  exaggeration  of  the  pre- 
vailing style,  due  to  the  direct  influence  of  the 
master,  whom  Ibarra  is  said  to  have  resembled 
personally.  Two  large  canvasses  painted  in  1740 
covered  the  front  of  the  large  hall  in  the  College  of 
San  Ildefonso. 

The  Glenwood  Mission  Inn  at  Riverside,  Cali- 
fornia, has  at  present  two  brilliant  paintings  (63  x 
77),  “Repose  in  Egypt”  and  “Adoration  of  the 
Magi,”  attributed  to  Nicholas  Rodriguez  Juarez 
(1680-1740).  The  first  is  a singularly  strange  treat- 
ment of  the  theme;  the  Virgin  is  represented  hold- 
ing an  ordinary  cooking  utensil  over  a fire  which 


OLD  MEXICAN  SCHOOL 


65 


is  being  replenished  by  winged  angels;  an  Infant 
of  decidedly  Byzantine  type  is  held  in  the  arms  of 
St.  Joseph  standing  near.  In  the  Adoration  of  the 
Magi,  the  interest  of  the  picture  is  increased  by 
two  figures  of  exceedingly  dark  countenances;  one 
figure  in  robes  holds  a shell,  probably  an  anach- 
ronism connected  with  the  introduction  into  the 
composition  of  St.  James  the  Greater.  In  this  can- 
vas both  drawing  and  composition  are  treated 
more  vigorously  than  in  the  “Repose.” 


SCHOOL  OF  IBARRA 


-After  Cabrera,  Ibarra  was  without  doubt  the 
greatest  Mexican  painter.  Count  Beltrami  speaks 
of  the  exquisite  delicacy  and  beauty  of  the  female 
figures  in  Ibarra's  work  at  the  Cathedral,  and  the 
churches  at  Puebla.  In  1825  the  same  critic  refers 
to  a very  fine  St.  Inez  in  the  Church  of  the  Bethle- 
mites  (now  converted  into  a public  library).  His 
last  great  work  was  the  Calvary  dated  1756,  the 
year  of  his  death.  This  picture  may  have  been 
destroyed,  as  in  i860,  the  owner  though  poor, 
refused  to  sell  it  to  museum  or  gallery  thus  leaving 
it  unprotected  from  the  fury  of  the  revolutionists. 

Ibarra,  born  in  1688,  painted  prolifically  and 
like  Juarez  painted  in  two  centuries.  In  the  Na- 
tional Academy  are  two  of  his  greatest  works,  the 
Woman  of  Samaria,  and  the  Woman  Taken  in  Adul- 
tery, besides  an  excellent  portrait.  There  are  also 
eleven  canvasses  considered  very  fine  at  the  Ca- 
thedral in  Puebla,  but  his  best  work  is  probably 
the  series  portraying  events  in  the  life  of  St. 
Joseph,  his  patron  saint,  painted  for  the  church  of 
Santa  Inez  in  Mexico.  In  the  Bethrothal  of  St. 


MISSION  SAN  JUAN  CAPISTRANO,  CALIFORNIA 
Founded  1776.  Note  carving  over  lintel  showing  Aztec  influence. 


SCHOOL  OF  IBARRA 


67 


Joseph,  now  owned  by  the  Reverend  Don  Antonio 
Plancarde,  Ibarra  painted  a portrait  figure  of  him- 
self among  the  spectators. 

Ibarra  was  the  friend  and  colleague  of  the  dis- 
tinguished native  Mexican  painter  and  engraver, 
Miguel  Cabrera,  appointed  life  president  of  the 
Academy  of  Painting  when  it  was  established  in 
1735.  Cabrera  had  a marvellous  imagination  and 
painted  with  so  much  feeling  that  his  fame  was  as 
great  in  the  century  after  his  death  as  it  was  when 
he  lived.  There  is  a tradition  that  he  was  a Zapo- 
tec  Indian,  but  the  legends  in  his  paintings  show 
that  he  was  from  Oaxaca  in  the  Department  of 
Guanajuato  in  Mexico,  where  he  was  born  in  1695. 
The  date  of  his  last  painting  is  1764,  four  years 
before  his  death.  While  he  lacked  the  vigor  of 
Arteaga  and  the  good  taste  of  Echave  his  com- 
position was  excellent  and  his  work  especially  in 
the  beauty  of  the  female  heads  and  faces,  appeal- 
ing; his  coloring  was  remarkable  for  its  freshness 
and  softness  like  that  of  Juan  Rodriquez  Juarez 
but  without  the  latter's  exaggeration;  his  drawing, 
similar  to  that  of  Correggio,  while  not  always  cor- 
rect was  superior  to  that  of  other  Mexican  painters 
of  his  time.  A very  beautiful  Nuestra  Senora  del 
Refugio  signed  by  Cabrera  hangs  in  the  South- 


68  ART  OF  THE  OLD  WORLD  IN  NEW  SPAIN 


west  Museum  at  Los  Angeles.  In  this  painting  the 
drawing  of  both  heads  is  unmistakably  after  Cor- 
reggio. An  exceedingly  brilliant  and  decorative 
effect  is  given  by  the  golden  insignia  I.  H.  S. 
closely  repeated  over  the  surface  of  the  Virgin’s 
robe.  Cabrera  copied  from  the  old  masters,  but 
very  rarely.  He  had  a large  studio  with  many  as- 
sistants who  no  doubt  painted  portions  at  least  of 
the  canvasses  attributed  to  him  in  many  of  the 
convents  and  churches.  This  fact  may  account  for 
the  completion  in  fourteen  months  of  thirty-four 
large  paintings  representing  events  in  the  lives  of 
two  Saints,  San  Ignacio  and  San  Domingo. 

A number  of  canvasses  painted  for  the  Univer- 
sity of  Mexico  are  hanging  in  the  San  Carlos 
Academy,  but  his  best  works,  which  unfortunately 
suffer  from  restoration,  are  the  Stations  of  the 
Cross  at  the  Cathedral  of  Puebla.  Cabrera  also 
did  the  fine  mural  painting  in  the  church  of  San 
Sebastian  built  by  the  mining  magnate  Jose  de  la 
Borda  at  Tasco,  in  the  mountains  of  Guerrero,  a 
magnificent  building  rising  against  the  bleak  hill- 
side. 

The  rank  of  Cabrera  among  contemporary 
painters  was  very  high  and  his  opinion  in  matters  of 
art  was  sought  by  the  civil  and  religious  authorities 


SCHOOL  OF  IBARRA 


69 


of  his  day.  When  a commission  of  seven  prominent 
artists  was  appointed  by  the  abbot  in  1751  to  make 
a critical  study  of  the  painting  “Our  Lady  of 
Guadalupe”  and  determine  by  actual  technical 
rules  whether  it  was  a miraculous  production  or 
the  work  of  human  hands,  Cabrera  was  chosen 
leader  of  the  group.  There  had  been  an  “official 
examination”  by  laymen  in  1666,  but  nothing  had 
been  written  or  determined  as  to  its  authenticity 
from  the  standpoint  of  the  artist  at  this  time. 
Cabrera  and  his  colleagues  declared  the  picture  to 
be  a supernatural  work  and  their  opinion  was 
embodied  in  a treatise  on  the  subject  of  thirty 
pages  written  by  Cabrera  which  was  published  at 
San  Idlefonso  in  1756.  He  asserted  the  picture  “was 
not  painted  in  water  colors,  nor  in  oil,  nor  in  any 
manner,  artificial  or  human.”  The  treatise  was 
dedicated  to  his  protector  Fray  Salinas. 

At  this  same  meeting  of  artists,  Cabrera  was 
selected  to  paint  a copy  of  Our  Lady  of  Guadalupe 
for  presentation  to  Pope  Benedict  XIV.  Nearly 
every  church  in  Mexico  possessed  a copy  of  this 
work. 

Another  native  Mexican,  Miguel  Zendejas,  like 
Cabrera,  was  equally  well  known  for  his  use  of 
light  and  shade  but  surpassed  all  others  of  his 


70  AR  T OF  THE  OLD  WORLD  IN  NEW  SPAIN 


period  in  his  wonderful  mastery  of  drapery.  His 
chiaroscuro  resembled  the  work  of  Correggio; 
while  his  delicate  color  was  similar  to  the  school  of 
Seville. 

Like  the  rest  of  the  school,  “independent/'  he 
ignored  the  five  prescribed  technical  rules  observed 
by  older  painters,  never  using  crayon  in  outlining, 
but  like  the  French  Delacroix,  painted  with  first 
“intention."  He  lacked  in  perspective  and  refused 
absolutely  to  paint  the  nude  whether  from  a 
religious  delicacy  or  the  futuristic  feeling  of  today 
will  never  be  known.  He  was  born  in  1724  at  the 
Puebla  de  Los  Angeles  and  during  his  long  life  of 
ninety-two  years  painted  constantly;  much  of  his 
work  was  at  the  monasteries  and  convents  of 
Puebla.  One  of  his  first  pictures,  Christ  Praying  in 
the  Garden,  is  at  Puebla. 

Fray  Miguel  de  Herrera,  a very  fine  artist  but 
of  the  old  school,  also  lived  to  a great  age,  painting 
far  into  the  eighteenth  century.  He  was  famous  for 
a number  of  small  canvasses  illustrating  the  life  of 
Alexander.  Unfortunately  these  paintings  were 
placed  in  a private  gallery  where  they  were  not 
available  for  art  students.  Another  painter  of  merit 
following  the  older  school,  Cristoval  Villapando, 
mentioned  previously,  although  his  work  varied  in 


SCHOOL  OF  IBARRA 


7 


quality,  ranked  high  for  his  master  imagination  in 
picturing  the  Passion;  but  it  is  also  unfortunate  in 
this  instance  that  his  only  work  left  at  the  College 
of  San  Francisco  has  been  retouched. 

Among  those  who  were  appointed  with  Cabrera 
to  judge  as  to  the  divine  origin  of  the  painting  of 
the  Lady  of  Guadalupe  besides  Luis  and  Rodriguez 
Juares,  were  Juan  Ruiz,  Manuel  Osonio,  Ventura 
Arneas,  Antonio  Vallejo  and  Jose  Alcibar,  the  last 
painter  of  the  new  school.  The  work  of  Alcibar  was 
in  striking  contrast  to  that  of  his  immediate  pre- 
decessors and  contemporaries.  Instead  of  following 
the  school  of  Seville,  he  showed  an  originality  in 
his  fidelity  to  nature  and  instead  of  the  smoothness 
of  Vallejo  and  Cabrera  he  substituted  a vigor  un- 
known before  among  the  artists  of  that  period. 
Even  in  his  old  age  Alcibar’s  work  retained  these 
characteristics.  In  1799,  nearly  fifty  years  after  he 
served  with  Cabrera  on  the  commission  to  examine 
the  paintings  of  Guadalupe  he  painted  one  of  his 
fine  canvasses,  the  San  Luis  Gonzaga,  now  at  the 
San  Carlos  Academy — his  Last  Supper  is  at  the 
Cathedral  and  the  Patronage  of  St.  Joseph  at  La 
Profesa.  A signed  canvas  “St.  Ann  and  the 
Blessed  Virgin”  now  hangs  in  the  Museum  at 
Glenwood  Mission  Inn.  The  vigor  of  the  artist's 


72  ART  OF  THE  OLD  WORLD  IN  NEW  SPAIN 


drawing  is  clearly  shown  in  the  figures  of  both 
Mary  and  St.  Ann.  A dove  hovers  over  the  figure 
of  the  former  who  stands  on  a table  and  is  sup- 
ported by  St.  Ann. 

Next  to  Cabrera,  Vallejo  ranked  in  power  with 
the  religious  and  civil  authorities.  Perhaps  one 
reason  for  this  was  the  close  resemblance  of  his 
work  to  that  of  Murillo.  In  1774  when  Pope 
Clement  XIV  inserted  the  “Mater  Immaculata” 
in  the  Catholic  Litany,  Charles  III  commanded 
Vallejo  to  paint  the  Virgin  and  Saints  as  a “votive 
offering”  for  the  University.  In  this  large  picture, 
there  are  faithful  portraits  of  the  donor  Pope 
Clement  XIV,  the  archbishop,  the  king,  and  the 
viceroy.  Besides  these  figures  there  are  numerous 
students,  St.  John  and  St.  Luis  Gonzaga,  repre- 
senting the  patron  saints  of  learning  and  four  other 
saints.  The  representation  of  the  Virgin  is  remark- 
ably beautiful.  This  picture,  mentioned  earlier  as 
one  of  the  latest  “votive  offerings”  was  painted  at 
the  College  of  San  Idlefonso,  but  was  afterward  re- 
moved to  the  University,  a building  now  occupied 
by  the  National  Conservatory  of  Music.  In  1 860  the 
painting  was  reported  much  disfigured  through 
lack  of  protection  from  sun  and  rain  before  its 
removal  to  the  Conservatory.  Vallejo  was  a pro- 


SCHOOL  OF  IBARRA 


73 


lific  painter,  his  best  work  being  done  between 
1767  and  1768,  most  of  which  was  done  for  San 
Ildefonso  and  the  University.  There  is  a large  num- 
ber of  his  paintings  in  the  Church  of  San  Diego  and 
in  the  National  Preparatory  School  are  two  very 
fine  monumental  canvases,  the  Holy  Family  and 
the  Pentecost. 

Probably  one  of  the  most  celebrated  mural 
paintings  of  the  eighteenth  century  and  certainly 
the  ranking  one  at  that  period  on  the  western 
continent  is  the  Hortus  Conclusas  or  Closed 
Garden  (allegorical  picture  representing  the  nuns 
and  pupils  at  work  in  the  Garden)  which  fills  the 
entire  wall  in  the  sacristy  of  the  Church  of  Santa 
Rosa  at  Queretaro.  It  was  painted  by  a native 
Mexican  born  in  1765  of  Spanish  parents,  Fran- 
cisco Eduardo  Tresguerras,  the  “Michael  Angelo 
of  Mexico,”  so-called  because  he  was  equally 
famed  as  architect,  painter,  sculptor,  engraver, 
etcher,  musician  and  poet.  His  work  as  a painter 
and  sculptor  supplemented  his  work  as  an  ar- 
chitect as  evidenced  in  his  church  of  Santa  Rosa 
where  the  smallest  detail  of  wood-carving,  the 
delicate  wrought-iron  of  the  grill  work  of  the  choir- 
screens,  the  brilliant  emerald  lines  that  frame  the 
paintings  of  the  altar  are  but  a part  of  the  unity  of 


74  art  OF  THE  OLD  WORLD  IN  NEW  SPAIN 


the  scheme  that  includes  the  famous  mural  of  the 
Garden.  Tresguerras  studied  under  Cabrera  at  the 
Academy  of  Painting;  he  was  a follower  of  Murillo 
and  consequently  a brilliant  colorist — the  decora- 
tive scheme  on  the  walls  of  his  churches  is  eloquent 
testimony  to  that  fact. 

The  Persian  dome  of  the  church  Nuestra  Senora 
del  Carmen,  built  in  his  native  city  of  Celaya,  is 
considered  one  of  his  masterpieces,  the  gleam  of 
the  yellow  and  green  glazed  the  decoration,  giving 
the  effect  of  luminous  gold.  As  in  the  church  of 
Santa  Rosa,  Tresguerras  painted  at  Carmen  won- 
derful frescos,  but  while  it  was  the  works  of  his 
youth  at  Santa  Rosa,  Carmen  contains  the  works  of 
his  later  life.  Among  those  the  Entombment  of 
Tobias  and  the  Resurrection  of  Lazarus  are  con- 
sidered two  of  his  most  wonderful  canvasses.  He 
lived  for  seventy-eight  years  and  unlike  his  pre- 
decessors, preserved  the  excellence  of  his  work  until 
his  death. 


All-Seeing  Eye  over  Statue  of  St.  Michael — Mission  San  Miguel. 


THE  ACADEMY  OF  FINE  ARTS 

\ 

By  the  close  of  the  seventeenth  century  Spain 
had  virtually  replaced  the  simpler  style  of  the 
former  Renaissance  by  the  more  complex  baroque 
inherited  from  Italy.  This  style,  becoming  more 
and  more  involved  in  masses  of  detail,  finally 
reached  an  extreme  later  in  the  ornate  churrigue- 
resque,  in  which  beautifully  carved  wood  was 
covered  over  with  heavy  leaf  of  gold  plate  and 
spaces  filled  in  with  small  medallions  cut  from  old 
paintings  sacrificed  to  furnish  this  material.  Tne 
churrigueresque  in  turn  fell  into  disfavor  with  the 
reaction  in  favor  of  the  Greco-Roman  forms. 

When  brought  into  New  Spain,  the  churrigue- 
resque, through  its  freedom  of  artistic  expression, 
seemed  especially  adapted  to  colonial  needs,  but 
later  because  of  its  excessively  multiplied  detail 
finally  reached  a decadence  which  rivaled  the 
decline  in  the  old  world.  Although  the  Academy 
of  Fine  Arts  had  been  established  in  1753,  almost 
contemporaneously  with  the  Imperial  Academy  of 
Russia,  the  originality  of  the  painters  in  the  Old 
Mexican  School  had  disappeared.  The  Academy 

[75] 


7 6 ART  OF  THE  OLD  WORLD  IN  NEW  SPAIN 


recognized  the  work  of  Mexican  painters  however, 
conferring  the  title  of  Academico  de  Merito  upon 
Jose  Alconedo  the  last  of  the  old  Puebla  artists, 
who  was  exiled  to  Spain  for  political  activity  in 
the  insurrection  in  1808. 

In  an  endeavor  to  stimulate  art  interest,  the  San 
Carlos  Academy  was  founded  as  a school  of  en- 
graving in  1778  and  later,  in  the  year  1781,  it  was 
enlarged  to  include  instruction  in  painting,  sculp- 
ture and  architecture.  From  its  founding,  the 
king  gave  the  Academy  strong  support  in  sending 
the  best  teachers  from  Spain  as  well  as  the  finest 
models  and  other  necessary  equipment;  one  of  his 
gifts  was  a valuable  collection  of  casts  from  the 
antique,  sent  over  in  1791. 

With  the  exception  of  a few  who  had  gone  to  the 
old  world  for  instruction,  the  Mexican  painters 
knew  nothing  of  the  art  of  Greece  or  Rome,  their 
knowledge  of  subject  and  technique  being  confined 
to  the  Spanish  and  Italian  schools  which  they  had 
copied  and  upon  which  the  style  of  the  Old  Mex- 
ican school  had  been  based.  Among  the  teachers 
that  came  at  this  time  (1793)  was  Don  Manuel 
Tolsa,  one  of  the  most  eminent  Spanish  architects 
of  his  day,  and  a celebrated  sculptor  both  in  wood 
and  stone.  Tolsa  immediately  began  removing  all 


ACADEMY  OF  FINE  ARTS 


77 


evidences  of  churrigueresque  art  in  the  old  churches 
in  Mexico — an  unwise  movement  at  that  time, 
since  although  the  enthusiasm  for  the  churrigue- 
resque had  waned  on  both  continents,  the  pre- 
vailing Greco-Roman  spirit  of  the  old  world  had  as 
yet  awakened  no  response  in  the  new.  The  cold 
classic  forms  failed  to  express  the  mysticism  in- 
herent in  the  Mexican  mind,  and  the  substitution 
of  the  severe  Greco-Roman  style  of  decoration  for 
the  beautiful  altars  and  rich  decoration  of  the 
Cathedral  proved  an  innovation  too  swift  and  too 
thorough  for  the  devout  Mexican  mind.  Humboldt 
describes  the  democracy  of  the  school  in  giving 
free  instruction  to  hundreds  of  students,  Indians 
and  whites,  the  sons  of  rich  and  poor  working  side 
by  side,  sketching  from  the  same  plaster  casts  or 
from  life.  Still  New  Spain,  resenting  the  intrusion 
of  foreign  methods,  steadily  refused  to  accept 
academic  instruction;  painting  especially  was  at  a 
low  ebb,  and  the  Academy  failed  to  flourish. 

Rafael  Ximeno,  who  accompanied  Tolsa  from 
Spain  and  succeeded  him  as  head  of  the  Academy, 
proved  no  greater  success  than  his  predecessors  in 
reconciling  warring  factions.  He  was  a fine  mural 
painter,  using  broad  brush  strokes,  but  his  color 
was  exaggerated  and  his  drawing  poor.  Ximeno 


78  ART  OF  THE  OLD  WORLD  IN  NEW  SPAIN 


however  may  have  been  in  advance  of  his  period, 
as  these  characteristics  are  to  be  found  in  some  of 
the  modern  work  accepted  today.  His  murals  were 
far  superior  to  his  oils. 

In  the  early  part  of  1800,  the  greater  number  of 
models  and  casts  had  been  so  mutilated  and  dis- 
figured, owing  to  the  civil  war,  that  they  were  of 
very  little  service.  An  effort  had  been  made  in 
1794  by  the  Viceroy,  Marqu’s  de  Branciforte,  to 
revive  the  languishing  condition  of  the  Academy 
and  to  beautify  the  City  of  Mexico.  Under  his 
patronage  Tolsa  began  in  1795  the  statue  of  Carlos 
IV,  his  masterpiece,  but  such  was  the  lack  of 
artistic  interest  that  seven  years  elapsed  before  it 
was  set  up  in  the  plaza.  In  1822  it  was  enclosed 
in  a huge  wooden  globe  because  of  the  feeling 
against  Spain,  and  afterward  taken  to  the  Univer- 
sity; in  1852  it  was  removed  to  the  head  of  the 
Paseo  de  la  Reforma  bearing  on  its  pedestal  the 
legend  Conservado  como  Obra  del  Arte  “Preserved 
as  a Work  of  Art.”  This  statue  cast  in  one  piece 
is  the  first  important  piece  of  bronze  ever  cast  in 
the  western  world,  the  only  other  bronze  statue 
was  the  Concepcion  in  Puebla.  Before  1843 
Academy  building  was  abandoned  as  a school, 
but  the  beauty  of  the  engraving  that  escaped  des- 


SANCTUARY  AT  SANTA  YNES 
July,  1920.  Photo  by  R.  S.  Holway. 


ACADEMY  OF  FINE  ARTS 


79 


truction  proves  its  beneficial  influence  on  national 
taste. 

From  the  time  of  their  importation  as  stated, 
masterpieces  from  the  old  world  and  originals  of 
New  Spain  also,  were  hung  out  of  reach  on  the  high 
walls  of  old  churches  and  religious  houses,  inacces- 
sible alike  to  sightseer  and  student  and  conse- 
quently difficult  to  locate  or  study.  Still  the  earnest 
student  of  the  art  of  the  sixteenth,  seventeenth  and 
eighteenth  centuries  in  Mexico,  denied  access  to 
the  National  Museum  and  other  repositories  of 
art  in  Mexico  itself,  in  these  days  of  interrupted 
relationship  between  us  and  our  sister  republic 
may  find  a fair  field  in  the  collection  at  the  Glen- 
wood  Mission  Inn,  Riverside,  California  and  at 
the  Memorial  Museum  in  Philadelphia.  In  this 
latter  eighty  canvasses  of  the  wonderful  Lamborn 
collection  are  to  be  found,  including  signed  paint- 
ings by  Miguel  de  Herrera,  Joseph  de  Ibarra,  Be- 
cerra, Vallejo,  Lopez,  Enriquez,  Juan  Rodriguez, 
Juares  Cabrera,  and  other  painters,  besides  one 
canvass  that  is  ascribed  to  Echave.  These  can- 
vasses, with  the  occasional  Mexican  masterpiece 
unfortunately  but  too  rarely  found  hidden  away 
and  forgotten  in  some  private  museum  or  library 
on  this  western  coast,  are  sufficient  evidence  of 


8o  ART  OF  THE  OLD  WORLD  IN  NEW  SPAIN 


the  efforts  of  Mexican  masters  of  those  days  to 
cultivate  the  genius  and  improve  the  native  taste 
of  their  people. 


SAN  JUAN  CAPISTRANO 

Portals  of  the  original  church  destroyed  by  the  earthquake  in  1812.  Note  carving — 
paneled  doors.  Photographed  by  R.  S.  Holway,  May,  1918. 


THE  MISSION  DAYS  OF 
ALTA  CALIFORNIA 


CALIFORNIA’S 

INDEBTEDNESS  TO  THE  MISSIONS 
FROM  THE  STANDPOINT 
OF  ART 

JVIeasured  in  terms  of  the  histories  of  older 
countries,  life  on  the  Pacific  coast  may  be  written 
in  a few  chapters  of  brief  chronology.  New  Spain 
was  but  the  product  of  a new  civilization  imposed 
upon  a nation  already  populous  and  cultured,  but 
the  path  of  the  padres  as  they  marched  northward 
and  westward  over  two  centuries  later  may  be 
traced  through  a land  whose  geography  was  as 
vague  at  the  time  as  the  character  of  its  inhabit- 
ants was  unknown.  For  this  reason  in  the  history 
of  California  one  of  the  most  essential  and  at  the 
same  time  perhaps  the  most  fascinating  chapter, 
because  of  its  very  elusiveness,  is  the  story  of  the 
Missions. 

As  early  as  1522,  almost  a hundred  years  before 
the  founding  of  the  first  English  colony  in  America, 
Spain  was  being  made  familiar  with  the  people  of 
Mexico  through  the  description  of  their  appear- 
ance, habits  and  customs  in  the  letters  of  Cortes 


86  MISSION  DAYS  OF  ALTA  CALIFORNIA 


to  his  monarch,  Charles  V.1  The  Conqueror  had 
built  at  this  time  a dockyard  at  Zacatula  north  of 
Acapulco  and  had  four  ships  in  the  dock  ready  for 
exploration,  yet  for  two  centuries  after,  the  world 
knew  nothing  of  the  population  of  California,  or  as 
it  was  then  called  the  “Upper  Coasts  of  the  South 
Sea,”  nor  of  the  natives  some  miles  inland,  except 
scanty  information  given  by  a few  explorers. 

The  earliest  mention  of  the  Californians  to  which 
we  can  give  credence  is  made  by  Cabrillo,  the 
Portuguese  navigator  who  arrived  in  San  Diego 
Bay  in  1542.  He  writes  of  the  mud  huts  and  brush 
shelters,  the  clothing  of  skins,  of  their  canoes  and 
how  “an  Indian  Queen  and  many  of  her  people 
came  to  dance  with  the  Spanish  sailors.” 

An  old  chronicler  of  the  voyage  of  Sir  Francis 
Drake  along  the  coast  of  California  gives  a vague 
account  of  the  natives  as  they  appeared  in  1579. 
He  tells  of  the  painted  faces,  the  nude  bodies  and 
the  girdles  of  bulrushes  worn  about  the  waist  by 
the  women.  He  describes  the  singing  and  dancing 
accompanying  their  religious  ceremonies;  also  a 
kind  of  scepter  decorated  with  chains  of  bones  and 
crowns  of  network  curiously  wrought  with  feathers 
of  many  colors. 


MacNutt’s  Translation  of  Letters  of  Cortez,  pp.  162-166. 


CALIFORNIA'S  INDEBTEDNESS  TO  MISSIONS  87 

The  next  reference  to  them  is  made  after  an 
interval  of  one  hundred  and  fifty  years  in  a de- 
scription by  another  Englishman,  Captain  Woodes 
Rogers,  who  describes  the  primitive  attire  of  the 
savages  as  he  saw  them  while  he  was  coasting 
along  the  Pacific  shore  in  1709.  He  writes  that  the 
males  were  nude  but  the  women  wore  short  shirts 
of  silk  grass  or  pelican  or  deer-skin.  For  ornaments 
they  used  shell,  pearls,  and  red  berries.  At  this 
time  California  was  popularly  supposed  to  be  an 
island;  even  as  late  as  1713  it  is  drawn  as  such  on 
Guerdeville’s  map  of  the  world  made  for  the 
French  Academy  of  Sciences.  More  than  three- 
quarters  of  a century  had  elapsed  since  the  account 
of  Captain  Rogers  before  the  first  definite  know- 
ledge of  the  inhabitants  and  life  on  the  Pacific 
Coast  was  given  to  other  parts  of  the  world  through 
a description  of  neophyte  life  in  the  Missions  by 
Count  de  Laperouse,  a French  navigator.  Sent 
out  by  Louis  XVI  to  explore  the  unknown  regions 
of  the  world  in  the  early  part  of  1800,  von  Langs- 
dorff,  who  accompanied  Reznof  in  .command  of 
the  Russian  expedition  sent  for  the  same  purpose, 
gives  a definite  picture  of  life  as  he  saw  it  on  the 
coast  at  various  points  in  1806.  This  information 
was  supplemented  by  the  illustrated  account  of 


88  MISSION  DAYS  OF  ALTA  CALIFORNIA 


Louis  Choris  in  his  work  entitled,  “Voyage  pit- 
toresque  autour  du  monde,  avec  des  portraits  des 
sauvages  d’Amerique,  d’Asie,  d’Afrique  et  des 
isles  du  grand  ocean,”  etc.  Choris  was  attached  to 
the  staff  of  the  Romanoff  Expedition  under 
Kotzebue  (a  Russian  scientific  expedition  also  to 
explore  the  remote  countries  of  the  world),  visiting 
San  Francisco  in  1816.  Although  the  voyage  was 
begun  in  1815  and  several  countries  were  visited  be- 
fore California,  the  account  begins  with  the  story  of 
the  latter,  the  author  naively  stating  in  the  intro- 
duction that  from  the  first  his  idea  was  to  “present 
to  the  public”  entirely  new  or  very  interesting 
material  and  for  that  reason  the  beginning  of  the 
book  is  concerned  with  California,  “pays  encore 
peu  connu”  (a  country  as  yet  very  little  known). 
The  description  of  other  countries  well  described 
by  geographers  or  known  through  their  commerce 
with  the  old  world  is  placed  later  as  being  of  less 
interest.  Chamiso,  the  artist  of  the  expedition,  in 
a series  of  plates,  pictures  the  inhabitants  of  the 
Presidio  at  play,  at  work,  their  attire,  their  manner 
of  dressing  hair,  their  utensils,  weapons  of  defense, 
etc.  A view  of  the  Presidio  shows  the  stockade  in 
the  middle  of  the  foreground.  The  center  of  interest 
is,  however,  two  horses  instinctively  waiting  with 


CALIFORNIA'S  INDEBTEDNESS  TO  MISSIONS  89 

their  heads  flung  upward,  vibrant  in  their  station- 
ary pose,  evidently  surprised  at  the  approach  of  a 
horseman  riding  rapidly  toward  them  with  leveled 
spear.  To  the  left  another  rider,  spear  elevated, 
rides  behind  two  Indians  guarding  a white  man, 
possibly  a deserter,  between  them.  Nearer  the  fore- 
ground is  a fire  about  which  are  gathered  a number 
of  persons,  one  of  the  standing  figures  holding  a 
papoose  in  her  arms.  In  the  immediate  foreground 
another  mounted  Spaniard  drives  a group  of 
Indians  with  packs,  seemingly  fagots,  strapped 
across  their  backs,  evidently  the  method  of  trans- 
portation of  that  period.  A few  horses  gamboling 
to  the  right  complete  the  life  element  in  the  illus- 
tration. The  equipment  of  the  horse  and  rider  is 
in  the  Spanish  style;  the  whole  picture  is  vibrant 
with  the  spirit  of  the  times. 

A more  crowded  plate  and  of  much  less  interest 
from  an  artistic  standpoint  illustrates  a dance  of 
the  natives  before  a mission  building,  according 
to  Bancroft  the  old  Mission  Dolores.1  This  may 
well  be,  since  the  building  was  begun  in  1782  and 
was  still  standing  in  1885.  t^le  picture  there  is 
only  a section  of  the  Mission  building  shown  with 
a very  shallow  foreground.  Still  another  plate 

history  of  California,  Bancroft,  Vol.  II,  p.  378. 


9o  MISSION  DAYS  OF  ALTA  CALIFORNIA 


portrays  human  heads  from  different  tribes  and 
incidentally  interesting  types  of  hairdressing.  The 
illustrations,  instinct  with  the  alertness  of  the 
figures,  are  remarkably  clever. 

It  is  these  accounts,  meager  though  they  are, 
that  mark  the  dividing  line  between  legend  and 
fact  and  are  the  beginning  of  that  fascinating 
thread  of  human  interest  that  culminates  later 
in  the  story  of  argonaut  and  pioneer,  following 
the  discovery  of  the  first  piece  of  gold  in  the  tail 
race  of  Sutter’s  Mill. 

There  is  a vast  contrast  between  the  gorgeous 
settings  of  early  ecclesiastical  structures  in  Mexico, 
numbering  thousands,  created  and  maintained  by 
donations  of  fabulous  wealth  from  the  faithful  and 
the  primitive,  meager  product  of  the  California 
padre  with  untrained  savage  assistants.  Lack  of 
revenue  and  of  appropriate  building  material, 
combined  with  poverty  of  imagination,  could  result 
only  in  the  crude  and  ephemeral,  yet  historically 
California  owes  a twofold  debt  to  her  Missions; 
not  only  because  the  first  reliable  information  re- 
garding its  early  inhabitants  came  through  the 
description  of  neophyte  life,  but  also  because  of 
the  fact  that  the  first  art  impulse  on  the  coast  was 
given  by  the  Missions  which  furnished  subjects  for 


CALIFORNIA'S  INDEBTEDNESS  TO  MISSIONS  91 


illustration  in  books  of  discovery  and  travel  long 
before  the  landscape  of  the  coast  was  even  thought 
of  as  an  artistic  theme.  In  the  second  volume  of 
Captain  George  Vancouver's  Voyage  of  Discovery 
to  the  North  Pacific  Ocean  (1700-1795),  there  are 
two  finely  engraved  plates,  “The  Mission  of  St. 
Carlos  near  Monterrey"  and  “The  Presidio  of 
Monterrey."  The  plates  measure  about  by  9 
inches  and  were  made  from  sketches  “taken  on 
the  spot  by  J.  Sykes,"  artist  of  the  expedition. 
Although  not  published  until  1798  in  London, 
these  sketches  have  the  distinction  of  being  the 
first  art  production  in  California  of  which  there 
is  any  record.  Vancouver  first  visited  the  Presidio 
at  Monterey  and  the  Mission  at  Carmel  Valley 
in  1792.  In  November,  1793  he  made  another 
visit  to  these  places,  the  plates  being  the  results 
of  the  three  visits. 

In  1828,  thirty  years  after  the  publication  of  the 
first  drawings  made  in  California,  there  appeared 
the  initial  painting  of  the  series  of  missions  that 
afterward  became  one  of  the  most  favorite  of  Cali- 
fornia themes.  This  earliest  painting  of  a Mission 
building,  the  San  Gabriel,  was  made  by  a Mexican 
artist,1  probably  one  of  the  soldiers  stationed  at 

iNews  Notes  of  California  Libraries,  Vol.  V,  No.  3 (July,  1910),  p.  44. 


92  MISSION  BAYS  OF  ALTA  CALIFORNIA 

that  post.  The  picture,  measuring  15  11-16  by 
29  13-16  inches,  is  exceedingly  crude,  both  in 
design  and  technique.  It  is  unfortunately  lost, 
but  a copy  of  it  painted  about  1880  by  Henry 
Chapman  Ford,  is  now  in  the  Ford  collection 
owned  by  Mrs.  F.  H.  Sloan  (formerly  Mrs.  Ford) 
of  Los  Angeles.  Robinson’s  engraving  of  the  same 
Mission  was  made  in  1900. 

In  1853  the  Mission  buildings  at  Santa  Cruz 
were  painted  by  a French  artist,  Le  Tousset  or 
Toussaint  who  was  visiting  there  at  the  time.  This 
canvas,  now  at  the  rectory  of  the  church,  is  the 
only  picture  showing  the  buildings  in  their  original 
style  and  has  furnished  the  model  for  the  outlines 
of  the  different  illustrations  and  paintings  of  the 
ancient  building. 

Of  the  twenty-one  missions  that  measured  the 
progress  of  the  padres  along  the  King’s  Highway, 
many  have  long  since  disappeared  and  those  that 
remain  are  merely  a memory  in  their  original  state 
to  the  older  generation. 


Hand  riveted  Candlestick  from  Mission  San  Francisco  Solano  at  Sonoma, 
California. 


NATIVE  ART  PRODUCTION 


THE  PATIENT  PADRE  AND 
THE  ARTLESS  INDIAN 

.Although  so  little  is  known  of  the  habits  and 
customs  of  the  natives  in  the  period  preceding  the 
missions,  modern  research  proves  the  existence  in 
prehistoric  times  of  a well-established  pictorial  art 
among  the  tribes  along  the  coast  and  in  the  south- 
west— an  art  approaching  in  quality  the  prehis- 
toric murals  recently  discovered  in  the  caves  of 
Altamira  in  northern  Spain  and  of  Fort  Gaume  in 
southern  France. 

In  the  latter  part  of  August,  1914,  an  expedition 
from  the  School  of  American  Archaeology  dis- 
covered one  hundred  and  six  most  remarkable 
drawings  on  the  walls  of  the  prehistoric  caves  of 
the  Rito  de  los  Frijoles,  thirty  miles  west  of 
Santa  Fe,  New  Mexico.  These  drawings  included 
not  only  designs  of  fishes,  birds,  and  other  animals, 
but  conventional  and  geometrical  forms  as  well. 
No  doubt  this  cultural  quality  extended  to  the 
Indians  of  this  coast,  although  there  are  few  evi- 
dences of  it  remaining  at  the  present  time.  There 

[93] 


94  MISSION  DAYS  OF  ALTA  CALIFORNIA 


are  none  north  and  but  few  south  of  Monterey, 
California.  In  the  mountains  of  Santa  Barbara 
there  are  a number  of  rock  paintings  in  caves;  on 
Painted  Rock  in  Santa  Ynes  mountains  thirteen 
miles  west  of  the  city  of  Santa  Barbara  may  be 
found  representations  in  color  of  the  sun,  of  men, 
and  of  animals;  also  in  a cave  in  a boulder  twenty 
feet  high  at  San  Marco  Pass,  there  are  a number 
of  “rock  pictures.”  About  five  miles  above  San 
Antonio  Mission  in  the  hills  bordering  the  San 
Antonio  River,  there  are  a number  of  wall  paint- 
ings in  a sandstone  rock  cave.  Many  of  them  are 
merely  outlines  in  red  ochre  or  paint;  still  others 
are  “entirely  filled  in  with  color;  some  made  of 
lines  or  dots.”  Imperfections  in  the  wall  surface 
as  a scaling  or  depression  of  the  right  form  is 
utilized  by  outlining  it  as  a head  of  a human  or 
other  figure,  the  feet,  arms  and  the  body  being 
added.  Some  fine  murals  are  to  be  found  in  a cave 
on  Santa  Catalina  Island,  although  none  of  them  is 
so  brilliant  as  the  prehistoric  murals  of  France  and 
Spain.  In  the  latter  cases  the  drawings  were  in 
deep  caves  remote  from  the  action  of  the  elements, 
much  better  protected  than  the  work  of  the  Indian 
on  the  Pacific  Coast.  The  fact  that  the  California 
Indian  possessed  but  a very  rudimentary  know- 


NATIVE  ART  PRODUCTION 


95 


ledge  of  pigments  which  would  readily  fade  or  be 
entirely  obliterated  by  rain  and  sun  may  account 
largely  for  lack  of  specimens  in  this  country.  The 
difference  in  the  quality  of  the  painting  of  the 
Arizona  and  New  Mexico  Indians  and  that  of  the 
Coast  tribes  may  be  in  a measure  due  to  the  re- 
moteness of  the  latter  from  the  ancient  civilization 
of  Mexico.  In  a collection  brought  from  the  Santa 
Barbara  Islands  by  Dr.  Hector  Alliot  of  the 
Archaeological  Institute  of  America  were  a number 
of  pipes  and  whistles  presumably  used  in  the  cere- 
monial rites  of  the  natives.  Each  instrument  had 
been  treated  with  a coating  of  asphaltum  in  which 
fragments  of  abalone  shell  had  been  inlaid  in  fan- 
tastic design,  direct  evidence  of  “artistic  tempera- 
ment” in  the  tribe. 

A latent  talent  among  the  West  Coast  Indians 
was  still  further  developed  in  basket  weaving  which 
seems  to  be  the  only  art  in  which  they  really  ex- 
celled. Choris  speaks  of  their  proficiency  in  this 
respect  in  his  Voyage  pittoresque  du  monde , as 
they  appeared  in  1816;  “The  Indians  at  the  Mis- 
sions to  the  south  of  San  Francisco,  particularly 
that  of  Santa  Barbara,  make  charming  vessels 
and  vase-shaped  baskets,  capable  of  holding  water, 
from  withes  of  various  running  plants.  They  know 


96  MISSION  BAYS  OF  ALTA  CALIFORNIA 


how  to  give  them  graceful  forms  and  also  how  to 
introduce  pleasing  designs  into  the  fabric.  They 
ornament  them  with  bits  of  shell  and  with  feathers.  ” 

The  natives  of  the  greater  part  of  the  coast 
country  also  carved  in  wood,  but  the  product  was 
exceedingly  rude  in  design  and  very  limited  in 
quantity.  Utensils  of  various  kinds,  articles  of 
personal  use  and  various  objects  ornamented  with 
dolphins,  flying  fishes  and  other  animal  forms,  taken 
from  the  excavations  of  Indian  mounds  along  the 
coast,  prove  they  had  also  a rude  conception  of 
sculptural  forms. 

In  their  work  among  the  natives  of  California 
the  padres  found  the  same  problem  that  perplexed 
the  missionaries  at  the  time  the  Conquistadores 
were  invading  Mexico:  viz.,  the  overcoming  of 
the  difficulty  experienced  by  the  neophytes  in 
making  the  transition  from  the  worship  of  visible 
stone  gods  and  idols  to  the  comprehension  of  an 
unknown  religion  filled  with  abstract  truths. 
Father  Jumpero  Serra,  after  returning  from  San 
Diego,  found  the  cross  erected  at  Monterey  sur- 
rounded with  feathers,  arrows,  meat  and  fish 
brought  by  Indians  endeavoring  to  do  homage  to 
their  new  God;  and  Soule  in  his  Annals  of  San 
Francisco  comments :“In  1775  when  Father  Garces 


NATIVE  ART  PRODUCTION 


97 


was  travelling  on  a crusading  or  proselyting 
expedition  from  Sonora  to  California,  he  carried 
with  him  a painted  banner,  on  one  side  of  which 
was  represented  the  Blessed  Virgin  Mary,  and 
on  the  other  the  devil  in  the  flames  of  hell.  On 
arriving  at  an  Indian  settlement  the  missionary 
took  his  first  step  of  conversion.  Just  as  the 
travelling  mountebank  blows  his  horn  and  flutters 
his  flag  on  approaching  a village  of  likely  gulls,  so 
did  our  good  Father  hoist  his  standard  and  cry 
aloud;  when  as  he  naively  observes,  the  fascinated 
Indians,  on  seeing  the  Virgin,  usually  exclaimed 
‘good!'  but  when  they  observed  the  devil,  they 
as  often  said  ‘bad!'  Probably  this  was  faith  enough 
to  entitle  them  to  immediate  baptism,  absolution 
and  salvation.  Food,  lodging,  raiment  and  free- 
dom from  the  cares  of  the  family  and  the  future 
naturally  followed.”  LangsdorfF  tells  of  wonders 
in  this  regard  wrought  by  the  figure  of  the  Virgin 
represented  as  springing  from  leaves  of  the  great 
American  aloe  instead  of  the  ordinary  stem,1  and 
we  read  that  at  some  missions  it  was  customary  to 
paint  the  hands  and  faces  of  the  saints  dark  in  an 
effort  to  reach  the  untutored  Indian  mind.  In 
contrast  to  this  another  method  was  employed 


California:  A History  of  Upper  and  Lower  California,  Alexander  Forbes. 


9B  MISSION  DAYS  OF  ALTA  CALIFORNIA 


when  the  element  of  fear  was  introduced,  for 
example:  at  one  time  the  facade  of  Santa  Clara 
Mission  was  covered  with  vivid  representations  of 
the  punishments  and  the  joys  of  the  after  life,  an 
idea  carried  out  to  some  extent  in  decoration  at 
other  missions.  Laperouse  in  his  Voyage  Round 
the  World  writes  of  a painting  of  Hell  which  he  saw 
at  Carmel  Mission  in  1786.  The  picture  depicted, 
the  author  says,  scenes  vivid  enough  to  leave  an 
impression  of  terror  in  the  minds  of  the  savages, 
and  he  doubted  if  the  picture  of  Paradise  opposite 
produced  such  a good  effect  upon  them,  because 
of  the  serenity  it  represented  about  the  throne  of 
the  Supreme  Being,  an  idea  too  sublime  for  savages 
to  comprehend.  He  contends  it  was  absolutely 
necessary  to  create  a vivid  imagination  in  the 
mind  of  the  “newly-converted,”  adding  that  this 
must  seem  impossible  to  the  Protestant  cult  who 
prescribed  images  and  ceremonies  of  the  Catholic 
Church.1  The  efforts  of  the  padres  in  their  early 
work  was  furthered  by  allowing  the  neophytes  to 
use  their  own  crude  musical  instruments,  as  may 
be  seen  by  the  two  preserved  at  San  Juan  Capis- 
trano. On  one  a most  hideous  noise  is  created,  by 
jerking  back  and  forth  iron  handles  attached  to 


1 Voyage  of  Discovery,  La  Perouse,  Vol.  I,  p.  264. 


San  Gabriel  Mission  Church — Main  Altar — San  Gabriel  Mission. 


NATIVE  ART  PRODUCTION 


99 


it.  On  the  other  a stone  is  rattled  in  a similar 
manner  on  a triangular  shaped  box. 

But  it  was  not  through  wonder  and  fear  alone 
the  work  was  approached.  As  one  writer  expresses 
it,  “The  vividness  of  color  of  the  frescoes,  the 
pictures,  the  statues,  the  robes,  the  incense  smoke, 
the  silver  sheen  of  altar  furniture,  and  the  throb- 
bing of  the  violins  in  the  choir  loft,  all  contributed 
to  the  impressions  the  padres  wanted  to  make/’ 

Missionaries  in  New  Spain  soon  realized  the 
necessity  of  substituting  pictures  and  statues  of 
the  Christian  saints  to  create  some  emotional 
appeal  in  the  savage  mind  and  to  replace  the  idols 
destroyed  in  the  efforts  of  the  Christians  to  remove 
all  traces  of  heathen  worship.  Cortes  placed  “images 
of  Notre  Dame  and  other  Saints  in  place  of  the 
idols”1  that  were  thrown  down  from  the  temples 
and  broken  on  his  march  to  the  Mexican  capital 
in  1521.  In  order  to  reach  the  grasp  of  the  primi- 
tive mind  the  padres  in  California  as  well  as  those 
in  Mexico  found  the  effort  of  the  aboriginal  artist 
to  give  his  own  conception  of  the  mysteries  of  the 
new  religion  a great  aid,  crude  as  the  expression 
might  be.  In  this  respect  the  padres  of  the  Con- 


^orrespondence  de  Fernand  Cortes  avec  l’Empereur  Charles  Quint,  le 
premiere  lettre,  p.  91. 


ioo  MISSION  BAYS  OF  ALTA  CALIFORNIA 


queror’s  period  had  a great  advantage  over  the 
faithful  workers  to  the  north.  When  Cortes  ar- 
rived in  Mexico  he  found  an  ancient  civilization  of 
high  order,  the  gold  and  silver  work  often  rivaling 
that  of  the  goldsmiths  in  Spain.  Early  in  this 
period  at  his  urgent  request  the  mother  country 
began  sending  to  the  new  colony  missionary  archi- 
tects and  artists1  of  ability,  and  her  interest  in  this 
respect  was  unfailing  until  native  art  production 
was  firmly  established  in  New  Spain. 

Although  not  arriving  until  two  and  a half  cen- 
turies later  than  their  predecessors  to  the  south, 
the  missionary  padres  found  the  California  Indians 
had  advanced  but  little  beyond  their  prehistoric 
ancestors  in  point  of  art  production.  The  neophyte 
had  a primitive  knowledge  of  color  using  only  red, 
yellow,  black,  white  and  green  obtained  from  pul- 
verized earths,  the  red  from  ochres,  and  black  from 
hydrous  oxide  of  manganese  and  applied  in  their 
primary  form  since  nothing  was  known  of  a 
“binding-substance. ” In  this  matter  the  Mexicans 
were  far  ahead;  they  knew  chian  oil  and  often  used 
some  of  the  heavier  juices  of  plants,  which  per- 
mitted mixing  of  colors  thus  giving  variety  of 
color  scheme.  The  Coast  Indian  had  a limited 


1 Ibid la  troisieme  lettre,  p.  643. 


NATIVE  ART  PRODUCTION 


ioi 


knowledge  of  drawing  and  like  the  Mexican,  lacked 
in  perspective;  some  authorities  contend  that  this, 
in  the  case  of  Mexico,  points  to  an  Egyptian  in- 
fluence inherited  by  the  natives  of  Peru  and  in- 
troduced later  into  Mexico  through  a Peruvian 
art.  Situated  as  they  were,  so  far  from  harassing 
nations,  both  poverty  of  ideas  and  poverty  of  ex- 
pression may  amply  account  for  the  crudity  of  the 
work  along  the  northern  coast.  The  scarcity  of 
material,  even  the  wood  used  for  carving,  was  also 
an  obstacle  in  the  way  of  development. 

Owing  to  these  limitations  and  also  to  the  lack 
of  training  on  the  part  of  the  few  missionaries  who 
were  sent  primarily  to  convert  and  to  instruct  them 
in  “useful  arts,”  but  little  progress  was  made  in 
an  artistic  direction  for  a long  period  and  in  the 
beginning  it  was  only  through  the  generosity  of 
Mexico  and  the  mother  country  in  supplying 
decorative  material  that  the  padres  were  enabled 
to  carry  on  their  religious  work  among  the  Indians 
in  Alta  California. 

Strange  as  it  may  seem  the  neophytes  painted  for 
religious  purposes  alone;  there  was  no  ornamenta- 
tion of  their  own  huts  in  mural  work,  but  with  the 
erection  of  the  adobe  or  wooden  chapels  and 
churches  which  succeeded  the  primitive  enramada 


102  MISSION  DAYS  OF  ALTA  CALIFORNIA 


woven  of  boughs,  an  opportunity  was  given  to  de- 
velop originality,  however  unpleasing  the  results. 
A glance  at  the  relics  preserved  in  the  southern 
museums  and  churches  will  convince  the  observer 
of  the  superiority  of  the  southern  Indians  in  origi- 
nating forms ; in  this  respect  they  ranked  far  be- 
yond the  Indians  of  the  northern  and  the  central 
portions  of  the  state. 

The  neophyte  artist  is  often  accused  of  showing 
more  knowledge  of  form  and  color  in  his  basketry 
decoration  than  in  his  mural  work  under  the  in- 
struction of  foreign  teachers.  Perhaps  this  may  be 
accounted  for  by  the  fact  that  basketry  decoration 
was  with  him  an  ancient  art;  each  pattern,  skil- 
fully worked  out,  handed  down  through  the  genera- 
tions, had  its  special  meaning.  To  beautify  the 
dwelling  place  of  a new  Deity  as  requested  by  a 
foreign  race  of  another  type  of  religious  thought 
called  for  an  exercise  of  the  creative  faculty  un- 
employed before.  Here  the  wisdom  of  the  padre 
instructor  is  apparent  in  permitting  the  neophyte 
artist  in  his  religious  decoration  to  use  motifs 
already  known  to  him.  From  the  introduction  of 
Indian  symbols,  running  parallel  lines  resembling 
serpents,  the  lightning  flash,  attempts  to  picture 
the  sun,  the  River  of  Life  and  other  symbolical 


NATIVE  ART  PRODUCTION 


103 


characters,  it  is  evident  that  some  part  at  least  of 
the  decoration  was  left  to  the  individual  taste  of  the 
native  artist.  Perhaps  patterns  that  seem  to  the 
later  observer  but  a crude  imitation  of  marble  may 
have  been  intended  to  represent  sky  and  cloud 
effects. 

Then  again  the  treatment  of  splints  and  reeds 
in  producing  color  for  basketry  decoration  was  an 
essentially  different  process  from  that  of  getting 
from  mineral  earths  the  color  in  mural  decoration 
on  crudely  plastered  walls.  The  art  of  color  in  the 
former  is  probably  as  ancient  as  the  form  of  the 
decorative  pattern,  itself.  The  delicate  coloring 
required  in  representing  figures  of  saints  in  the 
mysteries  of  the  Christian  religion  was  prohibitive 
since,  as  stated  before,  primary  colors  alone  were 
available  and  the  knowledge  of  mixing  color 
could  not  be  imparted  to  the  savages  in  a short 
period  of  time.  Perhaps  with  the  tendency  of 
artists  in  the  present  era  to  return  to  the  primitive 
in  form  and  “divided  color,”  the  criticism  may  not 
be  so  apt  in  regard  to  aboriginal  work. 

Even  while  working  under  instruction  from  the 
padres,  the  Indian,  like  his  neophyte  brother  of 
New  Spain,  still  retained  something  distinctive  in 
his  work,  a flavor  apart  from  its  crudity,  making 


io4  MISSION  DAYS  OF  ALTA  CALIFORNIA 


it  easily  distinguishable  from  all  other  untrained 
effort.  For  many  years  one  of  the  prominent 
families  in  the  San  Fernando  Valley  possessed  a 
crucifix,  the  figure  being  of  Indian  type  with  crown 
of  thorns  and  Indian  tuft  of  feathers.  It  was  made 
by  the  neophyte  who  painted  the  Stations  of  the 
Cross  for  that  church.  At  Mission  Santa  Ynes  there 
is  a good  example  of  this  individuality,  a San 
Rafael  (painted  by  an  Indian  of  the  same  name) 
with  a typical  Indian  face  and  head.  Teofilo,  the 
neophyte  painter  of  Capistrano,  absolutely  refused 
to  submit  to  conventional  interpretation  of  the 
padres  in  his  work.  Carvings  over  door  lintels  in 
buildings  of  this  first  mission  built  of  stone  carry 
Aztec  characteristics.  A Madonna  now  at  the 
Southern  Museum,  taken  from  the  church  of  Our 
Lady  of  the  Angels  over  a hundred  years  ago, 
shows  strongly  the  native  tendency  in  this  respect. 
In  the  relic  room  of  this  same  church  may  be  seen 
fourteen  stations  of  the  Cross,  painted  on  a cloth 
background  covered  with  thick  white  paint;  the 
colors  are  the  rudimentary  blue,  red,  green,  white 
and  black  with  no  mixer;  pink  is  used  for  flesh 
tones.  The  drawing  is  exceedingly  crude  but  the 
heads  of  the  figures  startingly  Egyptian  in  appear- 
ance. None  but  a primitive  could  have  produced  a 


NATIVE  ART  PRODUCTION  105 

result  so  distinctly  foreign  in  feeling  to  the  efforts 
of  the  padres  or  other  Spanish  instructors;  more- 
over there  were  no  models  to  follow  at  the  time 
this  work  was  done.  All  of  these  native  products 
are  interesting  as  showing  the  manner  of  the 
primitive  mind  in  conveying  its  own  impression 
relative  to  a belief  so  foreign  to  its  own  mode  of 
thought.  The  primitive  results  of  the  neophyte's 
work  are  now  almost  obliterated  and  notwith- 
standing the  fact  that  the  starting  point  of  the 
real  history  of  California  begins  with  the  building 
of  the  first  Mission  in  1769,  all  that  remains  in  a 
material  way  to  tell  the  story  of  the  Spanish 
padre’s  zeal  in  California  is  the  classic  charm  in- 
herited from  tiled  roof,  columned  cloister,  bell- 
tower  and  arcade,  the  occasional  picture  and  “tat- 
tered tapestries  that  came  from  Spain.” 


THE  REMAINING  MISSION  MURALS 


W ithin  the  period  that  elapsed  between  the 
founding  of  the  first  mission  and  the  release  of  the 
completed  chain  from  the  guardianship  of  the 
padres,  church  and  chapel  interiors  had  passed 
through  successive  stages  of  decoration.  Crudity 
of  ornamental  form  and  color  in  both  interior  and 
exterior  work  may  be  accounted  for  in  part  by  the 
absence  of  local  wealth  to  urge  erection  of  muni- 
ficent buildings  as  had  been  done  in  the  rich  mining 
districts  of  Mexico,  and  the  lack  of  any  revenues 
to  maintain  those  which  were  established  in  the 
Mexican  Missions.  Yet,  even  had  building  material 
been  available,  the  most  potent  reason  still  remains, 
as  stated  before,  in  the  utter  incapacity  of  the 
California  neophyte  to  appreciate  any  artistic 
effect  except  as  expressed  in  crude  form  and  vivid 
unrelated  color.  Native  effort  under  the  direction 
of  the  padre  artist,  on  wooden  joist  and  plastered 
wall,  was  followed  by  the  more  elaborate  and  pre- 
tentious work  on  canvassed  arch  and  ceiling  by 
itinerant  foreign  artists  of  later  times  and  later 
still  the  modern  painter  proved  his  desire  to  pre- 
L°6] 


OUR  LADY  OF  SORROWS 
Mission  Dolores.  Founded  1776. 


THE  REMAINING  MISSION  MURALS  107 

serve  the  original  work,  in  semblance  at  least,  from 
entire  obliteration  through  fire,  earthquake  and 
other  disaster.  Some  of  the  mural  work  is  of  such 
decidedly  Moorish  and  Byzantine  character  and  yet 
so  crude,  it  has  been  suggested  that  the  work  was 
done  by  padre  artists  lacking  in  talent  and  en- 
deavoring to  reproduce  from  memory  the  decora- 
tion of  their  churches  in  Old  Spain.  Moorish  and 
Byzantine  characteristics  are  found  also  in  some 
pulpits,  carved  confessionals,  missal  stands,  wall 
brackets  and  other  woodwork  but  the  artist  was 
far  more  successful  in  ornamental  carving  than 
the  former  in  his  less  skilful  use  of  color. 

Except  in  fewinstances  the  decoration  of  the  main 
space  of  the  building  was  confined  to  a running 
border  above  a flat  dado  on  the  walls,  a running  vine 
or  other  pattern  outlining  windowspace,  door,  and 
niches  containing  the  statues,  which  were  usually 
of  wood.  Elaborate  decoration  was  reserved  for  the 
chancel  space  and  often  the  sacristy  walls  were  more 
extensively  beautified  comparatively  than  those  of 
the  church  itself.  Frequently  the  former  offered  a 
better  opportunity  to  study  native  work  than  any 
other  part  of  the  building  interior.  The  church 
ceilings,  especially  those  of  wood,  were  either  orna- 
mented directly  or  covered  by  a decorated  canvas. 


io8  MISSION  DAYS  OF  ALTA  CALIFORNIA 


Earthquake  and  lack  of  protection  from  fire  are 
not  alone  responsible  for  the  disappearance  of  the 
original  decoration  of  the  mission  walls.  Unfor- 
tunately much  that  was  interesting  from  an  his- 
torical, as  well  as  from  an  artistic  point  of  view 
has  been  lost,  covered  by  the  whitewash  coat 
placed  under  the  direction  of  well-meaning  but 
unsympathetic  successors  in  the  footsteps  of  the 
Spanish  padres.  From  the  standpoint  of  the  modern 
thinker  however  uninterested  in  either  the  history 
or  the  aboriginal  art  of  California,  this  opinion 
may  well  be  reversed.  Two  factors  at  least  may 
have  been  involved  in  the  entire  obliteration  of 
primitive  work  from  church  and  chapel  interiors: 
first,  the  laudable  desire  of  the  instructor  with  the 
passage  of  time  to  further  the  advance  in  religious 
education  of  his  neophyte  charges  by  removing 
evidences  of  primitive  attempts  to  teach  facts 
concerned  with  the  new  mode  of  worship;  second, 
during  the  period  of  Spanish  occupation  and  even 
still  later  when  the  missions  became  parish  churches, 
it  may  have  been  thought  wise  to  remove  neophyte 
decoration  in  accordance  with  the  altered  charac- 
ter of  the  congregations. 

Of  the  mission  wall  paintings  untouched  by  a 
despoiling  hand,  decorated  by  neophyte  or  wan- 


THE  REMAINING  MISSION  MURALS  109 

dering  artist,  all  that  remain  are  those  at  San 
Miguel  and  Santa  Ynes;  with  the  exception  of  the 
front  of  the  altar,  the  former  stands  today  as  left 
by  the  original  artist.  The  dado  is  the  work  of  the 
Indians;  the  remaining  decoration  was  done  by  a 
Spanish  decorator  named  Murras  in  1820  or  1821.1 
The  patterns  are  large  and  are  said  to  have  been 
taken  from  books  of  design.  On  the  wall  behind 
the  altar  there  are  three  large  panels  separated  by 
pillars  mottled  to  resemble  marble,  each  panel  out- 
lined by  a conventional  decoration  of  vivid  red 
flowers  and  green  foliage,  and  forming  a back- 
ground2 for  the  wooden  figure  standing  before  it. 
Over  the  statue  of  St.  Michael  in  the  middle  panel 
a large  painting  of  the  Moorish  All-Seeing  Eye, 
which  appears  frequently  in  Mission  decoration, 
forms  a center  of  a huge  representation  of  wooden 
rays  alternating  in  white  and  gold.  A chalice 
above  each  side  panel  and  a corresponding  one 
above  the  All-Seeing  Eye  are  joined  by  a garland 
formed  of  clusters  of  grapes  with  leaves.  The  dado 
below  the  panels  had  the  mottled  effect  associated 
with  the  idea  of  neophyte  work. 

UThis  information  was  given  the  writer  by  Father  Zephyrin  Engelhardt, 
to  whom  it  was  told  by  Mrs.  McKee,  a daughter  of  the  artist. 

2This  “glory”  frequently  forms  a background  for  representations  of  the 
“Sacred  Heart  ” and  other  paintings  as  well  as  for  statuary  in  many  of  the 
ancient  Mexican  churches. 


I IO  MISSION  DAYS  OF  ALTA  CALIFORNIA 


Above  the  statue  of  St.  Joseph  standing  on  a 
bracket  to  the  left  of  the  altar  in  an  oval  panel  is  a 
realistic  painting  of  the  wounded  hands  of  Christ, 
crossed  and  showing  the  piercing  made  by  the 
nails  which  held  them  to  the  cross.  A correspond- 
ing panel  filled  with  conventional  pattern  on  the 
right  is  of  little  artistic  interest. 

On  the  side  walls  of  the  sanctuary  the  decoration 
is  still  more  elaborate.  A deep  frieze  of  three 
parallel  rows  of  small  squares  outlined  in  black, 
each  filled  with  the  same  conventional  design,  has 
both  above  and  below  a fringe  of  blue  color  looped 
with  tassels  of  blue,  brown,  and  green.  Separating 
this  from  the  decoration  of  the  main  body  of  the 
wall,  perpendicular  bands  alternating  in  conven- 
tional designs  of  dark  brown  and  green,  are  set  off 
for  the  altar  on  each  wall.  Over  the  altar,  the 
ceiling  is  decorated  in  rose  with  a design  in  blue; 
the  rafters  are  also  of  rose. 

The  most  interesting  part  of  the  San  Miguel 
decoration  is  on  the  north  wall  directly  back  of  the 
pulpit  and  on  the  wall  opposite.  In  a panel  between 
fluted  columns  a huge  fan-like  painting  springing 
in  alternating  bands  of  green  and  pink  from  a green 
base  a short  distance  from  the  floor  extends  far 
beyond  the  pulpit  on  both  sides.  In  the  remaining 


TABERNACLE  DOOR 
Mission  Dolores  about  1776, 


THE  REMAINING  MISSION  MURALS 


ii 


wall  space  to  the  choir  loft  at  regular  intervals  are 
the  same  fluted  blue  mottled  columns.  The  Greek 
key  pattern,  used  occasionally  in  sculpturing  in 
stone  for  exterior  decoration,  was  rarely  introduced 
in  interior  decoration  in  combination  with  other 
painted  forms;  at  San  Miguel,  however,  it  runs  at 
the  top  and  at  the  bottom  of  the  frieze  panel  above 
and  of  the  panel  below  the  choir  rail.  At  the  inter- 
secting corners  of  the  Greek  pattern  and  in  the 
panels  of  the  choir  appears  a conventionalized  rose. 

Everywhere  the  coloring  is  still  vivid;  this  is 
particularly  true  of  the  deep  blue,  the  rich  green, 
red  and  yellow  of  the  altar-rail  spindles  and  those 
of  the  choir,  the  pulpit  stairway,  the  panels  of  the 
pulpit  and  the  red  scalloped  ornamentation  at 
the  bottom  of  the  canopy  crown.  The  coloring  of 
the  latter  itself  is  gorgeous  in  gold  and  silver,  black 
and  green;  at  its  top  stands  a bell,  above  which  is 
a cross. 

The  choir,  sanctuary,  and  sacristy  at  Santa  Ines 
still  retain  untouched  much  of  the  earliest  mural 
work.  The  painting  directly  back  of  the  altar  is  a 
series  of  columns  and  panels  in  mottled  green,  a 
crude  imitation  of  marble;  a dado  of  wider  panels 
in  the  same  imitation  carries  a border  of  irregular 
diamond-shaped  pattern.  On  the  side  wall  the 


1 1 2 MISSION  DAYS  OF  ALTA  CALIFORNIA 


effect  is  still  more  decorative;  here  the  panels,  also 
simulating  marble,  form  a background  for  oil 
paintings  which  are  supported  on  elaborately  orna- 
mented brackets;  a conventional  pattern  in  black 
and  green  outlines  the  windows.  Below  the  panels 
runs  a border  in  a pattern  of  red,  yellow  and  green, 
broken  at  intervals  by  conventional  vases  joined 
by  short  garlands  of  thick  leaves.  The  beam 
decoration  is  unique;  in  the  same  colors  as  above, 
arcs  are  described  on  the  sides,  the  points  of  inter- 
section set  off  by  an  elongated  figure;  running 
tendrils  of  a vine  form  the  decoration  on  the  inner 
side.  Green  tones  prevail  in  the  chancel  space 
throughout,  even  extending  to  the  fluted  interior 
of  the  shell  above  the  head  and  shoulders  of  the 
figure  of  St.  Agnes  above  the  altar.  The  whole 
niche  corresponds  in  coloring  to  the  crude  green 
marbleized  panels  below. 

For  some  time  the  original  altar  of  stone  was 
set  aside,  replaced  by  the  more  garish  modern 
substitute,  until,  through  the  effort  of  Father 
Alexander  Buckley,  the  latter  was  displaced  by 
one  before  which  the  neophytes  were  accustomed 
to  worship.  Over  this  ancient  work  is  a wooden 
protection  the  front  of  which  carries  an  elaborate 
decoration  of  alternating  blue  and  white  stripes, 


THE  REMAINING  MISSION  MURALS  1 13 


an  inch  and  a half  broad,  symbolizing  the  River 
of  Life.  A diamond  shaped  pattern  containing  al- 
ternating baskets  of  roses  and  fruit  was  evidently 
painted  over  the  stripes  with  leaves  and  flowers 
intermingled.  This  is  no  doubt  the  work  of  some 
Spanish  or  Mexican  artist;  neither  the  pattern  nor 
coloring,  however,  suggest  the  work  of  Murras  at 
San  Miguel.  Corresponding  to  the  general  scheme 
of  ornamentation,  panels  of  green  and  white  form 
the  decoration  of  the  arches  below  the  choir  loft. 

In  originality  of  design  and  also  in  execution, 
the  decoration  of  the  sacristy  walls  surpasses  that 
of  the  sanctuary,  and  like  the  rosetted  and  pierced 
sides  of  the  confessionals  is  Moorish  in  design. 
The  running  Greek  key  between  two  parallel 
borders  in  patterns  of  conventionalized  red  roses 
and  leaves,  both  borders  differing  in  motif,  pro- 
duces a most  unusual  decorative  effect.  The  fact 
that  the  Greek  key  was  but  rarely  used  in  mission 
murals  and  that  it  is  associated  with  the  rose- 
colored  conventionalized  flower  both  in  Santa  Ines 
and  in  San  Miguel  murals  (although  without  the 
leaves  in  the  latter  case)  would  suggest  work  by 
the  same  artist;  or  at  least  indicate  that  the  motifs 
were  from  the  same  book  from  which  Murras 
selected  the  San  Miguel  patterns.  About  the  niches 


1 14  MISSION  BAYS  OF  ALTA  CALIFORNIA 


outside  the  chancel  in  the  main  church  an  alien 
coat  conceals  the  original  decoration.  This  the 
devoted  priest  in  charge  (July,  1920),  Father 
Butler,  with  painstaking  care  is  endeavoring  to 
uncover  (using  the  pointed  blade  of  a pen-knife  to 
remove  the  offending  wash),  that  the  decoration 
may  be  seen  in  its  entirety. 

At  Santa  Ines,  there  are  many  wooden  candle- 
sticks and  wall  brackets,  all  of  which  are  painted  in 
the  brilliant  coloring,  red,  blue  and  green,  found 
in  the  spindles  of  the  altar  rail  and  pulpit  stairs  at 
San  Miguel.  The  decorations  of  the  ornamental 
rosettes  on  the  altar  piece  are  also  in  these  vivid 
colors  separated  by  gilt  lines.  On  the  tabernacle 
door  is  a beautifully  painted  Good  Shepherd;  the 
rafters  are  ornamented  on  the  under  side  in  run- 
ning tendril  pattern;  on  the  front  and  back  are 
festoons  on  a white  ground  in  brown  and  red 
patterns. 

Santa  Clara  was  elaborately  decorated  and  the 
present  restoration  gives  an  excellent  idea  of  the 
brilliancy  of  coloring  of  the  original  work.  The 
canvas  on  the  ceiling  was  taken  from  the  old  church 
before  the  first  fire  and  afterward  placed  in  its 
present  position  on  the  ceiling  of  the  new  church. 
It  is  uncertain  whether  it  was  painted  by  one  of 


Statue  of  San  Juan  at  San  Juan  Bautista.  August  I,  1920. 


THE  REMAINING  MISSION  MURALS  1 1 5 


the  padres  or  by  a Mexican  artist;  it  may  be  possi- 
ble that  Murras  painted  a part  of  the  ceiling 
although  the  design  has  none  of  the  characteristics 
of  the  other  murals  attributed  to  him.  The  wains- 
cot line  set  off  in  broad  curves  simulating  the  body 
of  a serpent  was  intended,  James  says,  to  remind 
the  neophytes  of  the  old  serpent  in  the  Garden  of 
Eden.  A more  poetic  conception  is  given  however 
— the  River  of  Life. 

On  the  walls  of  the  ruined  nave  of  the  ancient 
San  Juan  Capistrano  stone  church  and  among  the 
little  plant  leaves  peeping  out  between  the  bricks 
in  the  empty  niches  before  which  the  great  altar 
stood,  there  are  still  vestiges  of  brilliant  frescoing 
in  Byzantine  patterns  of  red,  blue,  pale  green  and 
gray.  Directly  under  the  arches  of  the  sanctuary 
beautiful  decorations  in  simple  designs  still  retain 
their  coloring  of  green  and  gold  and  although  the 
whole  surface  has  been  exposed  to  the  action  of  the 
elements  since  1812,  when  an  earthquake  con- 
verted the  building  into  a ruin,  much  of  the  color, 
though  dim,  remains  wonderfully  beautiful. 

On  the  ceiling  of  Father  Serra’s  old  chapel  at  this 
mission  are  numerous  rosetted  figures  in  good 
coloring  and  traces  of  a pleasing  decoration  on  the 
south  wall.  A conventional  diamond  shaped  pat- 


1 1 6 MISSION  BAYS  OF  ALTA  CALIFORNIA 


tern  designed  in  red,  yellow,  brown,  and  black  also 
remains  in  the  niche  which  holds  the  figure  of  San 
Juan  over  a door  in  the  corridor. 

The  brilliantly  colored  rosetted  figures  cut  from 
cedar  on  the  ceiling  at  Santa  Barbara  are  a restor- 
ation of  the  original  designs  by  the  Indians  repre- 
senting the  Winged  Lightning.  Within  the  chancel 
of  the  restored  decoration,  also  elaborate  and  vivid, 
appears  the  favorite  All-Seeing  Eye  radiating 
beams  of  light;  the  frescoes  of  fruit  and  flowers  on 
the  walls  were  all  painted  by  the  Indians  under 
direction  of  the  padres. 

Among  the  relics  at  this  mission  is  the  crown- 
piece  of  the  tabernacle  belonging  to  the  ancient 
altar;  this  interesting  relic  has  for  decoration  a 
design  combining  the  Sacred  Heart  of  Jesus  and 
Mary  with  the  cross,  the  crown  of  thorns  and  other 
insignia  referring  to  the  torture  of  Christ;  set  into 
the  wood  but  most  effective  and  original  are  the 
insets  of  irridescent  abalone  shell  fragments,  a 
decoration  more  attractive  than  the  marble  effect 
on  the  columns  and  side  arches  at  the  entrance,  all 
that  is  left  of  the  primitive  murals.  The  use  of  the 
abalone  inset  may  have  been  a survival  of  the 
aboriginal  form  used  by  the  Indians  at  Catalina 
and  the  Santa  Barbara  Islands  or  it  may  have  been 


THE  REMAINING  MISSION  MURALS  1 17 


an  inheritance  from  Mexico  where  the  shell  was 
extensively  used  at  one  period;  a few  frames  with 
shell  insets  were  brought  to  some  of  the  southern 
missions  and  the  idea  may  have  been  adopted  by 
the  Indian  artist  in  this  instance. 

At  San  Luis  Rey  traces  remain  of  the  original 
mural  work  crudely  simulating  black  marble  in- 
stead of  the  usual  dull  red,  blue  or  green;  the  deco- 
ration on  the  large  arch  spanning  the  interior  is  in 
the  dark  marble  veined  in  light  blue  and  red. 
Above  each  window  is  a star-shaped  figure  with 
conventional  trailing  pattern  extending  across  the 
top;  below,  a rude  conventional  pattern  outlines 
the  positions  occupied  by  the  missing  holy  water 
fonts.  Within  the  sanctuary  the  decoration  was 
of  much  higher  order;  in  a paneled  arch  over  the 
side  altar  two  winged  angels  are  pictured  in  space 
holding  a golden  crown  between  them  and  in  an- 
other panel  over  the  entrance  to  the  altar  are 
represented  the  stigmata  of  St.  Francis. 

Connected  with  the  main  church  at  San  Luis 
Rey  was  the  beautiful  little  octagonal  shaped 
chapel  used  for  the  services  of  the  dead.  The  ap- 
proach was  at  the  right  through  a doorway  after- 
ward built  up.  This  chapel  was  remarkable,  not 
only  for  the  unusual  decoration  of  the  chancel  wall 


I I 8 MISSION  DAYS  OF  ALTA  CALIFORNIA 


immediately  behind  the  altar,  but  also  for  its 
rounded  brick  columns  set  into  the  wall  at  the 
angle  marking  the  regular  divisions  of  wall  space. 

In  an  oval  panel  over  the  arch  which  spanned 
the  entrance  to  the  chancel  is  a painting  of  the 
cross  and  the  five  wounds  of  the  Savior,  and  the 
stigmata  of  St.  Francis. 

Until  about  fifteen  years  ago,  the  little  Pala 
chapel,  a dependency  of  San  Luis  Rey  and  sit- 
uated about  twenty  miles  from  that  mission,  re- 
tained its  original  decoration  by  the  Indians. 
Above  a primitive  dado,  columns  spanned  by 
broad  arches  were  painted  in  dull  reds  on  the 
whitewashed  walls;  afterward  they  were  obliter- 
ated by  a new  coat  of  whitewash  to  the  great  grief 
of  the  Indians.  It  is  hoped  the  original  frescoes  may 
may  yet  be  “restored”  by  the  removal  of  the 
offending  coat,  as  is  being  attempted  at  Santa  Ines. 

The  decoration  at  San  Gabriel,  mainly  confined 
to  the  retable  back  of  the  main  altar,  is  of  an  en- 
tirely different  character  from  the  fresco  orna- 
mentation of  the  other  mission  churches,  the  dark 
frame  with  its  niches  for  the  six  wooden  statues 
being  elaborately  ornamented  in  the  churri- 
gueresque  style  of  the  early  Mexican  mission 
chapels  and  churches.  This  fact  suggests  that  the 


THE  REMAINING  MISSION  MURALS  1 1 9 

retable  itself  may  have  been  an  importation  either 
from  Spain  or  Mexico  with  the  statues  and  pic- 
tures and  other  equipment  brought  north  by  the 
padres,  or  later  still.  The  original  pulpit  has  four 
panels  in  the  main  body  each  having  a white  star 
in  the  center;  a cone-shaped  support  at  the  bottom 
of  the  pulpit  is  ornamented  with  inlaid  strips. 

At  Our  Lady  of  the  Angels  in  Los  Angeles 
(sometimes  known  as  the  Plaza  Church)  the  origi- 
nal murals  behind  the  altar,  brown  panels  outlined 
with  pin  lines  against  a white  background,  offer 
strange  contrast  to  the  French  decoration  by 
Penelon,  the  French  artist,  who  did  much  toward 
the  restoration  of  that  church.  Two  yellow  oval 
panels  outlined  in  brown  make  a dull  setting  for 
wooden  figures  holding  flambeaux;  in  the  baptis- 
mal room  the  decoration,  also  conventional  (except 
the  Baptism  by  Penelon),  is  of  higher  order. 

Notwithstanding  the  decay  at  St.  Francis  de 
Asisi,  Mission  Dolores,  the  main  and  side  altars  of 
the  ancient  building  remain  in  comparatively  fair 
condition.  Behind  the  main  altar  stands  the  large 
reredo,  with  its  elaborate  rococo  decoration  of 
niches,  and  numerous  panels  outlined  in  gilt  frame 
ornamented  with  gilt  scrolls,  garlands  and  other 
conventional  designs  carved  in  wood.  In  the  chur- 


1 20  MISSION  BAYS  OF  ALTA  CALIFORNIA 


riguerresque  patterns  of  the  Mexican  mission 
structures,  similar  panels  contained  beautiful 
medallions  in  oil  painted  for  the  purpose.  When 
these  were  not  available,  rare  old  paintings  were 
often  sacrificed  to  furnish  the  vignettes  necessary 
to  fill  the  spaces;  in  the  California  missions  poverty 
of  like  decorative  material  was  often  met  by  using 
these  simple  carvings,  an  endeavor  to  offset  the 
lack  of  variety  of  color  by  the  richness  and  bril- 
liancy of  the  gilt  ornamentation. 

On  the  cornice  of  the  side  altars  a decoration  in 
tones  of  lavender,  and  in  the  panels  on  the  lower 
part  of  the  outer  columns  of  the  same  altars,  grace- 
ful vases  filled  with  roses,  form  a decoration  Italian 
rather  than  Spanish  in  feeling;  and  although  far 
removed  from  neophyte  work  are  still  of  an  early 
period. 

The  original  ceiling  decoration  remains.  The 
space  between  the  rafters  is  filled  with  rhomboid 
figures  each  divided  into  two  triangular  parts  alter- 
nating red  and  white  or  pale  gray;  the  rafters  and 
corbels  are  done  in  alternating,  regularly  bent,  bands 
of  red,  yellow,  gray,  and  white.  Over  the  arch 
fronting  the  altar  space  a more  elaborate  design 
was  painted  on  an  ancient  canvas  now  rapidly  dis- 
integrating, tattered  and  hanging  in  shreds. 


THE  REMAINING  MISSION  MURALS  1 21 


Touches  of  mural  decoration  by  the  neophytes 
maybe  seen  in  the  faded  red  leaves  behind  the  altar 
and  occasionally  on  the  walls  at  San  Juan  Bautista. 
That  the  decoration  of  the  whole  church  was  not 
altogether  by  the  converts  is  shown  by  the  several 
triangular  wooden  panels  upon  which  the  All-See- 
ing Eye  is  represented.  These  were  thrown  down 
with  various  other  figures  during  the  earthquake 
of  1800;  they  are  now  in  the  relic  room,  crude  but 
still  superior  to  any  Indian  work. 

From  the  mass  of  ruins  at  San  Fernando,  not  a 
trace  of  ornamental  work  remains  except  the 
faint  mottling  on  two  columns  and  cornices  near 
the  altar.  The  decoration  evidently  followed  the 
usual  pattern  of  simulated  marble. 

At  Carmel  in  the  old  chapel  where  Father  Serra 
celebrated  mass  before  the  large  building  was  com- 
pleted, a fragment  on  the  south  wall,  sufficiently 
large  to  show  the  character  of  the  original  decora- 
tion still  may  be  seen.  Above  a dado  of  triangular 
shaped  figures  alternating  in  pale  yellow  and 
green,  a very  distinctive  pattern,  there  is  an  almost 
indiscernible  border  in  brown  and  red.  Directly 
over  this  dado  the  prayer 

0 Coraz'on  de  Jesus 
Siempre  ardes  y resplandeces 


1 22  MISSION  DAYS  OF  ALTA  CALIFORNIA 

Enciende  el mio  e ilumina . 

Angeles  y Santos 
Alabemos  al  Coraz'on  de  Jesus . 

Translated  it  reads: 

0 Heart  of  Jesus 
Always  burning  and  shining 

Kindle  and  illumine  mine  with  Thy  divine  love . 

Angels  and  Saints 
Let  us  praise  the  Heart  of  Jesus . 

An  old  Moorish  arch  separates  the  chapel  from 
the  adjoining  church. 

In  the  conflagration  of  March  19th  of  the  present 
year  (1920)  at  San  Luis  Obispo  Mission,  fire  and 
steam  have  been  effectual  agents  in  exposing  not 
only  interesting  mural  work  on  the  sacristy  walls 
but  also  a most  exquisite  decoration  on  the  two 
wooden  lintels  over  the  entrances  to  the  altar 
space  of  the  church  beyond.  This  work  (stencil- 
ling?), in  alternate  pairs  of  double  scrolls  in  delicate 
blue  and  rose  colors  between  parallel  borders,  is 
almost  obliterated  from  the  right  lintel  by  smoke, 
but  the  left  carries  the  definite  pattern  easily 
traced.  The  marks  of  the  heavy  blunt  axe  or  other 
instrument  remaining  on  the  hand-hewn  timber 
seem  at  variance  with  the  delicacy  of  its  ornamen- 
tion. 


SAN  JUAN  BAUTISTA 

Door  with  “River  of  Life”  carved  decoration.  Cat  hole  in  corner. 
August,  1920. 


THE  REMAINING  MISSION  MURALS  1 23 


On  the  same  wall  which  divides  the  altar-space 
from  the  sanctuary,  on  the  inner  side,  are  two  rows 
of  festoons  in  rose  with  a conventional  figure  join- 
ing the  halves  of  each;  other  rows  of  festoons  may 
have  been  painted  above,  but  are  not  visible.  Stars 
and  rosetted  figures  are  placed  irregularly  through- 
out the  decoration;  patches  of  flat  dado  in  rose 
color,  native  work,  appear  where  the  smoke- 
grimed  alien  coat  has  flaked  off  during  the  intense 
heat. 

The  boards  (which  are  of  uniform  width)  com- 
posing the  ceilings  of  church  and  sacristy  escaped 
the  effect  of  fire  and  smoke  and  will  be  placed  as 
they  were  in  their  original  positions  during  the 
restoration  which  is  now  being  done  (July,  1920). 
Both  ceilings  carry  exceedingly  crude  decoration. 
The  irregular  shaped  stars  and  other  figures  in 
black  are  painted  over  a coarse  white  wash;  there 
is  no  doubt  whatever  of  the  native  work.  Being 
placed  so  high,  however,  the  appearance  of  the 
decoration  was  deceptive  and  the  work  impossible 
to  study.  In  the  church  the  rose  colored  dado  and 
decorated  border  of  the  neophytes  were  concealed 
under  the  modern  coats  of  white  and  blue  washes. 

Opening  from  the  sacristy,  an  old  adobe  build- 
ing still  retains  its  original  ceiling  of  tule  or  bam- 


1 24  MISSION  BAYS  OF  ALTA  CALIFORNIA 


boo  covered  with  dried  grasses.  Remnants  of  rose 
colored  decorations  in  star  form  still  remain  on 
its  south  wall. 

San  Luis  Obispo  is  fortunate  in  being  able  to 
have  saved  from  destruction  its  wonderful  old 
vestments,  two  of  which  in  framed  cases  are  of  a 
more  ancient  pattern  than  those  of  the  present 
time.  One  gorgeous  covered  chasuble  with  still 
untarnished  silver  flowers  has  a deep  fringe  of  red, 
yellow,  and  blue,  exceedingly  brilliant  and  as  fresh 
appearing  as  when  it  first  left  the  Spanish  loom. 

Although  it  is  almost  a century  since  the  last  of 
the  missions  was  founded,  the  adobe  church  and 
buildings  of  San  Francisco  Solano  (1824)  still 
stand  in  a fair  state  of  preservation  (September  3, 
1920).  No  trace  of  mural  or  other  decorative  work 
can  be  found  either  under  the  flaking  whitewash 
or  on  the  heavy  plaster  coat  beneath  it  on  the  walls 
of  the  church,  granary  or  adjoining  rooms  opening 
from  the  corridor.  It  does  not  follow  however  that 
the  artistic  sense  was  wanting  among  the  neo- 
phytes and  padres  at  Sonoma  since  some  of  the 
most  beautiful  as  well  as  useful  iron  work  was  pro- 
duced at  this  mission.  The  hand-riveted  dragon- 
shaped candlestick  is  unusually  ornate  and  shows 
evidence  of  the  neophyte’s  use  of  foreign  models. 


THE  REMAINING  MISSION  MURALS  1 25 

The  heavy  beams,  hand-hewed,  which  support 
the  wooden  ceilings  of  the  padres’  quarters,  the 
corridor  with  its  willow-brush  roof  tied  with 
thongs  of  raw-hide  to  the  rafters  and  the  bell  op- 
posite the  church  entrance  are  all  reminiscent  of 
the  atmosphere  of  neophyte  days. 


DECORATIVE 

ECCLESIASTICAL  EQUIPMENT  FROM 
SPAIN  AND  MEXICO 


PAINTINGS 

F or  the  equipment  of  the  missions,  gifts  were 
received  from  churches  and  colleges  of  both  Old 
and  New  Spain.  The  Mexican  College  of  San  Fer- 
nando and  the  congregations  of  Seville  and  of 
other  European  cities  furnished  a large  part  which 
was  increased  by  “votive  offerings”  of  private 
individuals  in  both  countries.  Laperouse  speaks 
of  the  great  number  of  fine  pictures,  copies  of 
Italian  paintings,  which  he  saw  at  Carmel  Mis- 
sion when  he  visited  it  in  September  1786.  Both 
Spanish  royalty  and  Mexican  viceroy  gave  official 
recognition  and  encouragement  to  the  custom 
of  giving  to  the  mission.  An  instance  of  this  in- 
terest may  be  found  in  a letter  of  instructions 
dated  December  25,  1776,  from  Bucarely,  viceroy 
of  New  Spain,  to  Governor  Neve  of  California  in 
which  the  latter  is  advised  that  “an  image  of  St. 
Francis  is  being  sent  for  use  in  the  chapel  of  the 

[126] 


Old  wooden  figures  that  originally  ornamented  the  posts  opposite  Entrance  of 
Mission  San  Antonio.  The  wooden  ox-cart  is  also  a relic  of  early  days. 

In  collection  of  Mr.  Dutton  at  Jolon,  California,  reported 
by  Mr.  Dutton  of  Jolon. 


DECORATIVE  ECCLESIASTICAL  EQUIPMENT  127 


fort  of  San  Francisco,”1  and  in  a letter  to  Father 
Palou,  biographer  of  Father  Serra,  Galvez,  visitor- 
general  of  New  Spain  under  Charles  III,  writes  of 
selecting  and  packing  with  his  own  hands  sacred 
ornaments,  vestments  and  silver  vessels  for  the 
celebration  of  the  mass,  which  were  taken  north 
by  the  expedition  accompanying  Father  Serra 
when  he  set  out  to  found  the  missions  in  Cali- 
fornia. Before  starting  on  his  journey  Serra  went 
to  Santa  Ana  to  consult  with  Galvez  and  both  de- 
cided at  that  interview  that  church  furniture,  orna- 
ments and  vestments  should  be  supplied  by  the 
missions  to  the  south.  Father  Palou  made  a list  of 
all  items  brought  at  the  time.2  Later  the  older 
California  missions  contributed  to  the  equipment 
of  the  younger;  at  Santa  Ines  there  is  a silver  in- 
cense cup,  a gift  from  La  Purisima  and  also  an  in- 
cense burner  from  San  Miguel.  Monterey  still  has 
a beautiful  asperger,  sent  in  the  early  days  from 
Carmel;3  also  a silver  processional  and  altar  can- 
dlesticks of  beautiful  design  from  the  same  place. 

Paintings  and  statuary  and  other  objects  of  art, 
venerated  by  padre  and  neophyte  alike,  remained 
at  the  various  missions  to  which  they  were  sent, 

Chapman,  Founding  of  Spanish  California,  p.  384,  note  9. 

2History  of  California,  Bancroft,  Vol.  I,  p.  119,  note  9. 

301d  Missions  and  Mission  Indians,  G.  Wharton  James. 


128  MISSION  BAYS  OF  ALTA  CALIFORNIA 


until  the  period  of  “secularization”  when  the  mis- 
sions were  taken  over  by  the  civil  authorities 
(1833-1848).  In  the  looting  which  followed,  much 
of  the  gold  and  silver  altar  equipment  disappeared, 
but  owing  to  the  fact  that  a number  of  the  mis- 
sions became  parish  churches,  the  padres  were  en- 
abled to  secure  from  various  sources  and  to  pre- 
serve many  of  the  looted  pictures,  statues  and 
richly  decorated  vestments.  San  Gabriel,  San  Juan 
Capistrano,  Santa  Clara  (until  the  unfortunate 
conflagration  of  1909)  and  a few  other  mission 
churches  are  still  veritable  storehouses  of  these 
treasures.  Much  of  the  gorgeous  display  of  ban- 
ners, paintings,  tapestries,  massive  crucifixes  and 
candlesticks  of  gold  and  silver  which  Alfred  Robin- 
son says  in  his  “Life  in  California”  he  saw  at  Santa 
Barbara  in  1846  is  still  there.  The  museums  at  Ex- 
position Park  in  Los  Angeles,  at  Golden  Gate  Park 
in  San  Francisco  and  the  Mission  Inn  at  Riverside, 
all  possess  priceless  treasures  from  an  historical 
point  of  view  in  the  heirlooms  donated  or  pur- 
chased from  descendants  of  the  old  Spanish  fami- 
lies, gifts  from  the  missionaries  in  return  for  cour- 
tesies and  favors  shown  them.  Perhaps  one  of  the 
finest  of  these  paintings  hangs  in  the  Exposition 
Museum,  an  exquisite  Santa  Rosa  de  Lima,  at- 


DECORATIVE  ECCLESIASTICAL  EQUIPMENT  129 

tributed  to  Murillo.  It  was  brought  to  Mexico  from 
Spain,  to  a church  in  Guadalajara  where  it  re- 
mained until  about  a hundred  years  ago  when  it 
was  given  to  the  grandmother  of  the  present 
donor1  by  the  Franciscan  padres  to  whom  she  had 
shown  great  kindness. 

In  the  relic  room  adjoining  the  church  of  Our 
Lady  of  the  Angels  at  Los  Angeles,  built  in  1784, 
the  oldest  Spanish  church  on  the  Pacific  Coast, 
there  is  a most  interesting  old  tablet  34  by  47 
inches  in  size  painted  on  lambskin,  with  the  music 
and  words  of  the  hymn  sung  by  the  choir  at  the 
celebration  of  the  mass  on  Good  Friday.  Around 
the  margin  of  the  tablet  are  beautifully  illuminated 
panels  containing  scenes  of  the  Passion  and  other 
subjects.  Among  others  at  the  bottom  is  a repre- 
sentation of  the  Tower  of  Gold  at  Seville,  Spain, 
which  was  built  early  in  1220  by  the  Moors  and 
partly  destroyed  by  an  earthquake  in  the  seven- 
teenth century,  the  main  portion  remaining  in- 
tact. Later  in  the  century,  the  smaller  towers 
which  surmounted  the  main  structure  were  re- 
stored. The  illuminated  panel  shows  the  tower 
completed,  but  another  panel  shows  the  coat  of 
arms  of  Bishop  Cervantes,  the  ecclesiastic  pre- 

*Mrs.  Martinez  of  Los  Angeles. 


130  MISSION  BAYS  OF  ALIA  CALIFORNIA 

siding  in  Seville  previous  to  the  disaster.  This  fact 
may  place  the  date  of  the  painting  early  in  the 
seventeenth  century,  but  since  it  is  not  known 
whether  the  tower  is  represented  before  the  earth- 
quake or  after  restoration  there  is  no  decisive 
proof  as  to  the  exact  time.  The  technique  places  it 
far  beyond  any  Mexican  work  of  the  period  and 
the  local  Spanish  subjects  would  also  seem  to  in- 
dicate Old  World  work.  Square  golden  notes  on 
the  red  lines  of  the  music  add  to  the  brilliant  effect 
of  the  illustrations.  The  medium  is  tempera  prob- 
ably mixed  with  honey. 

In  the  same  room  is  also  a very  large  painting  of 
the  Immaculate  Conception  attributed  to  Roelas, 
a fellow  student  of  Murillo  and  master  of  Zur- 
barab.  Roelas  painted  in  Spain  in  the  latter  part  of 
the  1 6th  and  early  part  of  the  17th  centuries  and 
was  commissioned  by  wealthy  religious  orders  to 
decorate  their  monasteries  and  churches.  This 
painting  is  most  beautiful  in  drawing  and  color; 
the  background  has  been  retouched  but  the  figure 
of  the  Virgin  and  the  faces  of  the  cherubs  are  origi- 
nal work;  the  head  of  the  Virgin  shows  undoubtedly 
the  influence  of  the  Murillo  school.  A great  deal 
of  golden  decoration  on  the  drapery  of  the  Virgin 
and  across  the  blue  robe  closely  repeated,  the  em- 


DECORATIVE  ECCLESIASTICAL  EQUIPMENT  13 1 

blem  of  the  Jesuits,  JHS,  in  letters  of  gold,  make  a 
most  brilliant  effect,  the  colors  of  the  painting 
seemingly  as  vivid  as  when  they  were  first  mixed 
on  the  artist's  palette.  Roelas'  works  are  rare  and 
highly  prized.  There  is  a number  of  good  Italian 
copies  hanging  among  other  pictures  in  the 
museum.  Cut  into  the  frame  of  a beautiful  Italian 
Madonna  may  be  found  the  index, /sf\  indicating 
that  the  picture  was  the  property  of  the  diocese  of 
Seville.1  The  same  characters  were  found  on  the 
frame  of  a St.  Francis  and  of  a St.  John  of  Prado. 
A painting  of  St.  Bernard  and  of  St.  Raymond  and 
many  others  all  on  copper  are  of  such  good  tech- 
nique that  they  suggest  Spanish  origin. 

In  the  old  church  there  is  a series  of  four  very 
old  paintings,  Italian  in  feeling  and  evidently 
brought  from  Spain  but  hung  so  high,  as  is  the  cus- 
tom in  the  churches  of  Mexico,  that  it  is  impossible 
to  study  them  carefully  although  the  coloring  is 
still  vivid  and  of  excellent  taste.  In  one  canvas  the 
Birth  of  Christ,  the  rigid  figure  of  the  Infant,  and 
other  crude  resemblances  to  work  of  Giotto  are 
apparent. 

The  largest  collection  of  paintings  once  the 


OThe  writer  discovered  the  symbol  in  May,  1918,  which  was  “translated” 
by  Father  Dorca,  a young  artist  priest  who  had  recently  arrived  from  Seville 
and  was  stationed  at  Our  Lady  of  the  Angels  at  the  time. 


I32  MISSION  DAYS  OF  ALTA  CALIFORNIA 


property  of  the  missions  is  at  the  present  time  at 
San  Gabriel.  Many  of  these  were  brought  from 
Spain  but  unfortunately  those  in  the  main  church 
have  been  “restored”  and  the  brilliancy  of  original 
coloring  lost.  Lining  the  walls  are  representations 
of  the  twelve  apostles  and  several  other  saints; 
an  unusual  canvas  of  the  Holy  Trinity  signed  by 
Lucas  Mena  hangs  in  the  main  building;  on  the 
sanctuary  walls  are  a beautiful  Blessed  Virgin  and 
a St.  Gabriel,  both  of  exquisite  coloring. 

The  greater  number  of  paintings  however  is  in 
the  museum,  at  one  time  the  old  monastery  of  the 
mission.  Some  of  these  are  on  canvas;  others  on 
copper  and  still  others  on  wood.  An  interesting 
“Story  of  the  Apparition”  of  the  latter  class  has 
four  separate  oval  paintings  in  oil  joined  by  cross- 
pieces at  the  back;  in  each  oval  is  represented  an 
incident  of  the  story.  The  picture,  said  to  be  four 
hundred  years  old,  is  evidently  a product  of  Mex- 
ico; the  wood  is  in  a fair  state  of  preservation,  the 
colors  brilliant  and  pleasing.  There  is  also  a fair 
copy  of  Cimabue’s  Madonna,  by  a Mexican  artist. 

Many  old  paintings  of  the  early  period  of  Span- 
ish art  are  still  in  their  mutilated  Spanish  frames. 
A St.  Joseph  with  the  Sleeping  Child,  the  Dream 
of  St.  Joseph,  a Byzantine  Madonna,  a St.  Peter 


DECORATIVE  ECCLESIASTICAL  EQUIPMENT  1 33 


and  a St.  Paul  are  of  this  early  time.  There  are 
several  of  a later  period,  three  attributed  to 
Murillo,  the  Virgin,  a St.  Francis  and  a beautiful 
Immaculate  Conception,  the  latter  in  the  size  of 
the  canvas  at  Seville.  A Salome  Carrying  the  Head 
of  John  the  Baptist  is  poorly  drawn  but  shows  the 
Murillo  coloring.  A large  canvas,  Massacre  of  the 
Innocents,  and  a Queen  Esther  are  good  represen- 
tatives of  the  Murillo  school.  Many  of  the  inferior 
canvasses  in  this  collection  bearing  the  Murillo 
signature  may  have  been  the  work  of  his  oldest 
son,  Dante  Gabriel  Murillo,  when  the  latter  was 
painting  in  the  West  Indies;  the  paintings  were 
brought  afterward  to  Mexico;  or  they  may  have 
been  the  master's  own  early  efforts  or  even  the 
work  of  students  working  under  his  direction,  a 
custom  not  unusual  at  the  time. 

Italian  masters  are  also  represented  in  the 
charming  Mary  Magdalene  attributed  to  Coreggio 
and  copies  on  copper  of  Raphael’s  Madonna 
Granduca  and  Andrea  del  Sarto’s  Madonna  and 
the  Child. 

At  Santa  Barbara  the  paintings  of  undoubted 
Spanish  origin  are  full  of  unusual  interest;  two 
lunettes  in  oil,  Our  Lady  of  the  Scapular  and  the 
Last  Judgment  (a  copy  of  the  canvas  at  the  Es- 


134  MISSION  DAYS  OF  ALTA  CALIFORNIA 


curial  in  Spain),  are  within  the  chancel.  In  the 
half-light  of  the  altar-space  both  composition  and 
coloring  are  indistinct,  preventing  an  accurate 
description  of  the  paintings.  This  applies  also  to 
the  Descent  from  the  Cross  on  the  right  wall  near 
the  altar  and  to  the  large  painting  of  the  Savior  on 
the  left.  The  curved  shape  of  the  lunettes  would 
indicate  that  originally  they  were  intended  for 
placement  directly  over  doors  or  windows  or  with- 
in an  arch  space.  Their  present  position  on  flat 
walls  as  well  as  their  technique  is  clear  evidence  of 
a foreign  gift.  High  on  the  right  wall  over  the  arch 
spanning  the  recess  containing  the  altar  of  the 
Mater  Dolorosa  is  a very  large  oblong  painting 
of  Hell  and  above  the  arch  directly  opposite  over 
the  altar  of  St.  Francis  is  a canvas  of  the  same 
shape  and  size  picturing  Purgatory.  The  former  is 
reminiscent  of  the  theme  as  portrayed  at  Carmel 
(mentioned  in  another  connection)  and  described 
by  Laperouse  as  he  saw  it  there  in  1776.  In  the 
scattering  of  the  secularization  period  may  not  the 
canvas  have  found  its  way  with  the  Purgatory  to 
Santa  Barbara  or  may  it  not  have  been  a gift  from 
the  generous  Carmelo  to  one  of  the  poorer  mission 
chapels  (San  Miguel?)  which  now  possesses  a 
work  of  the  same  motif?  The  canvas  has  disap- 


DECORATIVE  ECCLESIASTICAL  EQUIPMENT  135 


peared  from  Carmel.  Laperouse  mentions  also  a 
companion  picture  representing  Heaven  but  it 
would  seem  a stretch  of  the  imagination  in  con- 
necting the  Purgatory  even  if  dim,  with  that  work, 
though  it  is  unlikely  that  a Purgatory  representing 
one  of  the  states  of  existence  after  death  would 
accompany  the  former  two.  However  both  the 
Santa  Barbara  paintings  may  have  been  direct 
gifts  from  Spain  through  Mexico.  In  Palou’s  list 
of  church  equipment  brought  north  with  the  ex- 
pedition to  found  California  Missions,  mention  is 
made  of  “eleven  pictures  of  the  Virgin”  but  of  no 
other  paintings.  Consequently  many  pictures  and 
statues  were  gifts  sent  afterward  from  Mexico  or 
Spain.  Possibly  Cabrera's  Virgin  of  Guadalupe,  of 
which  there  were  numerous  copies  in  Mexico,  was 
among  them  because  of  the  generous  supply  of 
that  particular  subject. 

Two  other  large  paintings  of  the  same  oblong 
shape  and  very  dim  are  equally  as  interesting  as 
those  mentioned.  Hung  much  lower  than  the  Pur- 
gatory and  beyond  on  the  same  wall  is  a very 
ancient  painting  of  three  male  figures  which  en- 
tirely fill  the  canvas,  without  background  or  detail 
to  form  an  atmosphere.  On  the  right  wall  corres- 
ponding to  this  is  a representation  of  three  female 


136  MISSION  BAYS  OF  ALTA  CALIFORNIA 


saints,  the  center  figure  holding  a vessel  resembling 
a monstrance1;  the  one  on  the  left  the  Child  in  her 
arms,  the  Virgin  Mother,  and  the  one  on  the  right 
with  her  foot  on  a skull  holding  a crucifix,  evidently 
the  penitent  Magdalen.  The  paintings  are  of  very 
poor  color  lacking  brilliancy;  this  fact  and  the 
crude  composition  places  them  in  an  early  period 
of  Spanish  art.  A beautiful  copy  of  the  Virgin  of 
Guadalupe  from  Mexico,  over  a side  altar,  a fine 
Assumption  after  Murillo  in  the  drawing  of  the 
Virgin  and  cherubs,  and  a Crucifixion  are  close  to 
the  chancel  rails.  The  latter  two  with  the  Stations 
of  the  Cross  were  brought  from  Spain  in  1793. 

On  the  left  wall  of  the  chancel  at  San  Miguel 
there  is  a rare  Good  Shepherd,  dim  in  coloring  and 
painted  in  pigments;  the  quality  of  the  medium 
used  is  more  apparent  in  the  drapery  and  in  the 
crudely  drawn  red  sheep.  The  drawing  of  the  head 
of  the  Shepherd  and  of  the  two  cherubs  holding 
the  golden  crown  above  it  is  far  superior  to  the 
rest  and  seems  to  be  painted  in  a different  medium. 
The  canvas  is  either  Mexican  or  possibly  a very 
early  Spanish  retouched  by  a neophyte  or  a padre 
artist.  On  the  walls  of  the  main  church  are  large 
paintings  in  brilliant  coloring  of  St.  Augustine, 


Perhaps  a vase. 


DECORATIVE  ECCLESIASTICAL  EQUIPMENT  137 


St.  Dominic,  St.  Bonaventure,  St.  Anthony  and 
St.  Michael  in  Glory;  in  the  latter  the  canvas  is 
crowded  with  figures  below  the  form  of  the  as- 
cending saint.  The  drawing  of  St.  Gabriel  repre- 
sented in  ethereal  space  is  excellent;  that  of 
St.  Dominic  however  is  relatively  poor;  a string 
of  beads  held  in  his  hands  significant  of  the 
fact  that  he  originated  the  idea  of  the  rosary, 
and  a dog  standing  near  holding  a blazing  torch 
in  his  mouth  add  to  the  interest  of  the  picture.  In 
the  St.  Bonaventure  the  vivid  scarlet  decoration 
attracts  attention  to  the  center  of  a canvas  crowded 
with  detail.  Another  canvas  of  the  early  Spanish 
school  picturing  Hell  with  an  almost  obliterated 
Satan  in  the  high  center  is  interesting  because  of 
technique  and  theme.  The  narrow  frames  on  all 
of  the  paintings,  except  those  of  the  twelve  modern 
stations  of  the  Cross,  are  very  old,  as  confirmed 
by  the  decorative  inner  lines  in  yellow  and  red 
pigment. 

At  San  Juan  Bautista  there  are  also  many 
paintings,  some  of  much  merit.  In  one,  a beautiful 
but  unusual  Trinity  of  such  uneven  technique  it 
seems  the  work  of  two  artists,  the  drawing  of  the 
dove  and  the  head  of  Joseph  and  perhaps  the  head 
of  the  Infant  by  the  same  painter,  being  superior  to 


13B  MISSION  DAYS  OF  ALTA  CALIFORNIA 


that  of  the  lower  part  of  the  painting;  the  hands 
of  the  Child  especially  are  evidently  the  work  of 
an  inferior  artist.  An  unframed  head  of  a figure 
showing  printed  pages  held  in  the  hands  of  St. 
John  is  most  exquisite,  the  drawing  and  coloring 
of  the  flesh  tints  being  especially  fine!1  Among 
other  paintings  there  is  a beautiful  Baptism  of 
Christ,  the  tenderness  of  the  face  unusually  well 
done;  this  as  well  as  the  Virgin  of  Guadalupe  are 
very  large  canvasses.  Like  many  other  representa- 
tions of  Our  Lady  of  Guadalupe,  incidents  con- 
nected with  the  story  are  pictured  in  the  margin; 
in  this  case  there  are  but  four,  one  in  each  corner. 
In  one  of  these  there  appears  a Juan  Diego  of 
decidedly  brown  complexion  contrasting  strongly 
with  the  two  white  padres  to  whom  he  shows  the 
image  on  the  napkin.  In  a native-made  frame, 
probably  three  feet  square,  a painting  of  St. 
Michael  is  one  of  the  finest  in  the  collection;  its 
brilliancy  of  coloring  would  be  disclosed  were  the 
accumulated  dust  and  grime  removed. 

At  Santa  Clara  there  are  several  canvasses  pre- 
served from  the  conflagration  of  1909,  one  of 
them  a fine  copy  of  Cabrera's  Virgin  of  Guada- 

*In  August,  1920  the  writer  discovered  the  loss  of  both  these  paintings; 
stolen  from  San  Juan  Mission. 


DECORATIVE  ECCLESIASTICAL  EQUIPMENT  139 


lupe,  with  the  technique  of  the  best  of  the  Old 
Mexican  school.  In  the  sacristry  two  paintings,  a 
Virgin  and  a Christ,  are  in  as  vivid  color  as  when 
they  were  painted.  A painting  of  the  Loaves  and 
Fishes  is  equally  vivid;  the  face  of  the  Christ  is 
remarkably  well  drawn,  also  the  figure  of  the 
kneeling  child.  The  canvas  is  set  in  an  elaborate 
frame  of  unusual  form,  each  of  the  straight  sides 
broken  by  a broad  arc,  the  whole  surrounded  by  a 
narrow  Florentine  decoration.  There  is  also  a 
Mater  Dolorosa  which  from  subject,  technique 
and  lack  of  brilliancy  corresponds  to  the  Ribera 
type,  evidently  by  an  artist  painting  before  Echave. 
There  are  but  few  others  remaining,  a St.  Hyacinth, 
a St.  Benedict  and  a St.  Francis,  all  of  inferior 
artistic  merit. 

Of  the  ancient  mission  structure  at  Santa  Cruz 
there  remains  only  the  east  foundation  wall  of 
stone,  almost  concealed  in  the  overgrowth  of 
shrubbery  which  covers  it.  In  1840  (January  16) 
an  earthquake  and  tidal  wave  occurred.  During 
that  time  the  church  tower  was  overthrown, 
statues  were  thrown  from  their  niches  and  orna- 
ments damaged  or  destroyed.  From  the  wreckage  a 
number  of  paintings  of  inferior  value,  representing 
saints,  are  preserved  in  the  rectory  adjoining  the 


i4o  MISSION  BAYS  OF  ALTA  CALIFORNIA 


church,  but  whether  the  paintings  were  among 
those  borrowed  with  other  church  necessities  at  the 
founding  of  the  mission  in  1790  or  were  a part  of 
the  supply  furnished  by  Mexico  later  is  not  known. 
They  are  of  little  artistic  value  or  interest.  A pic- 
ture of  the  town  painted  by  an  Indian  is  also  pre- 
served here  and  is  the  only  evidence  of  neophyte 
work  remaining  at  the  Mission.  The  drawing  is 
unusually  well  done  for  the  time;  the  coloring  in 
low  key  but  clear,  suggests  instruction  from  an 
artist  teacher. 

Very  few  canvasses  brought  to  the  northern 
missions  are  comparable  in  quality  with  the  mag- 
nificent large  Ascension  on  the  stairway  of  the 
same  rectory.  Although  not  brought  from  Mexico 
until  the  late  twenties,  it  was  probably  painted 
long  before,  the  brilliant  coloring  showing  the  in- 
fluence of  Titian  on  the  Mexican  artist.  The  can- 
vas is  no  doubt  one  of  Mexico’s  masterpieces  of 
its  period. 

An  Assumption  of  the  Mexican  school  at  San 
Luis  Obispo  is  painted  in  pigments,  the  colors 
without  depth.  The  face  and  hands  are  well  drawn 
but  the  feet  are  poorly  done;  the  same  is  true  of  the 
angular  drapery  over  the  bent  right  knee;  the 
drawing  of  serpent  and  moon  are  archaic.  In  con- 


' 


Stone  carving  of  the  Virgin  of  Guadalupe  over  door  at  Presidio  Church, 
Monterey,  California. 


DECORATIVE  ECCLESIASTICAL  EQUIPMENT  141 


trast  to  this  canvas,  there  is  a Madonna  and  Child 
of  excellent  color  suggesting  Murillo  but  Raphael- 
esque  in  composition.  In  a Crucifixion  with  the 
Magdalen,  while  the  drawing  and  coloring  of  the 
flesh  tints  of  the  Christ  are  unusually  fine,  the 
female  figure  is  stiff  and  uninteresting;  another 
painting  of  the  Magdalen  in  the  Cave  is  equally 
poor  in  technique  and  color.  Of  a later  period  is  a 
saint  ascending  in  glory  crowned  with  flower 
chaplet,  lilies  in  hand  and  vivid  yellow  robe  with 
tunic  of  red.  The  coloring  is  good  but  not  of  the 
same  brilliancy  and  depth  as  that  of  the  Madonna 
canvas.  A good  copy  of  Cabrera’s  Lady  of  Guada- 
lupe hangs  within  the  chancel.  All  of  these  can- 
vasses are  of  the  Mexican  school,  but  the  twelve 
very  old  stations  of  the  cross  may  be  of  either 
Spanish  or  Mexican  origin. 

On  the  left  side  of  the  chancel  space  at  Santa 
Ines  there  is  a very  interesting  old  painting  of  St. 
John,  showing  Italian  influence  in  the  landscape 
background.  The  figure  is  much  better  drawn  than 
that  of  the  crude  lamb,  stiff  and  awkward.  On  the 
same  wall  an  old  picture  of  St.  Francis  with  skull 
and  pen  scarcely  discernible  has  a similar  back- 
ground; from  its  composition,  drawing  and  tech- 
nique, it  suggests  the  period  of  Ribera,  the  “Span- 


i42  MISSION  DAYS  OF  ALTA  CALIFORNIA 


iard  in  Italy.”  It  is  doubtful  whether  these  paint- 
ings are  by  Mexican  artists  working  from  models, 
or  by  early  Spanish  artists  of  the  old  world.  This 
church,  like  many  of  the  others,  possesses  a fine 
copy  of  Cabrera’s  Our  Lady  of  Guadalupe,  but  the 
most  interesting  representation  of  the  Madonna 
hangs  on  the  left  wall  just  beyond  the  rail  separat- 
ing the  space  beneath  the  choir  loft  from  that  of 
the  main  church.  The  Virgin  is  pictured  with  a 
pleasing  youthful  countenance  and  instead  of  the 
usual  gilt  crown  or  halo,  wears  a wreath  of  inter- 
mingled lilies  and  brilliant  poppies.  A modern  note 
is  added  by  the  finger  ring,  earrings,  golden  neck- 
lace and  locket.  At  frequent  intervals  on  the  sur- 
face of  the  blue  cloak  covering  a vivid  red  robe  ap- 
pear the  characters  JHS  in  brilliant  gold,  designat- 
ing the  emblem  of  the  Jesuits.  This  golden  deco- 
ration is  found  frequently  on  the  paintings  of  the 
Virgin  by  the  Spanish  Roelas  who  was  commis- 
sioned to  decorate  many  of  the  Spanish  churches 
in  his  time.  It  is  also  a favorite  decoration  in 
Mexican  paintings  of  the  Virgin.  This  canvas  is 
not  of  sufficient  merit  to  be  attributed  to  that  ar- 
tist; the  work  is  uneven,  the  limbs  of  the  child 
being  much  more  poorly  drawn  than  the  figure 
of  the  Virgin. 


DECORATIVE  ECCLESIASTICAL  EQUIPMENT  143 


More  interesting  still  from  the  historical  stand- 
point is  the  painting  of  San  Rafael  mentioned  in 
the  preceding  pages.  The  neophyte  artist  has 
drawn  a typical  Indian  face;  in  the  right  hand  is 
held  a fish,  a staff  in  the  left;  the  figure  standing  in 
the  water  of  the  brook  is  furnished  with  a large 
pair  of  exceedingly  crude  but  gauzy  wings.  The 
painting  in  its  ancient  frame  is  a revelation  of  the 
personality  of  the  aboriginal  artist. 

Over  the  stations  of  the  cross  (painted  in  1642) 
are  the  wooden  crosses  made  by  the  Indians;  the 
stations  are  in  dark  green  frames  of  primitive 
pattern. 

With  the  generosity  of  Carmel  toward  the  other 
younger  missions  and  the  looting  following  the 
secularization,  there  are  very  few  old  paintings  and 
statues  remaining.  Within  the  sanctuary  is  a very 
old  unframed  painting  of  Santa  Rosa1  of  Lima, 
with  chaplet  of  roses;  a palm  is  held  in  her  right 
hand;  from  the  left  is  suspended  an  anchor  sustain- 
ing a church  resting  in  its  flukes.  The  figure  of  the 
saint  is  represented  in  a white  robe  with  a long 
string  of  beads  worn  about  the  throat  instead  of 
from  the  side  as  the  rosary  is  usually  pictured. 

On  the  opposite  wall  to  the  left  of  the  altar  is  a 


lThis  may  be,  however,  a representation  of  Saint  Agnes. 


i44  MISSION  BAYS  OF  ALTA  CALIFORNIA 


painting  of  the  Savior  holding  an  open  book.  This 
canvas  is  inferior  in  coloring  and  technique  to  the 
Santa  Rosa.  Another  ancient  painting  in  the 
sacristy  is  the  St.  Peter  represented  with  the  keys 
in  his  right  hand  and  a miniature  church  in  his 
left.  The  drapery  is  very  crudely  done,  but  the 
face  is  well  painted  in  comparison. 

On  the  tabernacle  door  at  Mission  Dolores  is  a 
beautiful  old  painting  of  the  Italian  school,  repre- 
senting the  Savior  blessing  the  bread  which  He 
holds  in  His  hands;  on  the  table  immediately  be- 
fore Him,  stands  the  tall  silver  chalice  containing 
the  wine. 

Two  other  small  paintings  in  oval  frames  are 
placed  on  brackets  on  corresponding  sides  of  the 
large  figure  of  St.  Michael  above  the  Crucifixion 
over  the  tabernacle.  The  one  on  the  right,  labeled 
“Coat  of  Arms”  portrays  the  bare  arm  and 
clenched  hand  of  a soldier  protecting  or  support- 
ing the  cross  which  forms  the  background  of  the 
picture.  The  painting  on  the  left  is  a faded  repre- 
sentation of  a Spanish  cross. 

At  Mission  San  Jose  there  are  six  large  canvasses 
of  special  merit  and  strangely  enough  of  almost 
uniform  size.  An  equestrian  figure  of  St.  George  is 
well  drawn  but  the  horse  is  much  out  of  proportion; 


DECORATIVE  ECCLESIASTICAL  EQUIPMENT  145 


a Magdalen  in  the  Cave  of  excellent  drawing  and 
coloring;  a St.  Francis  receiving  the  stigmata;  but 
perhaps  the  finest  canvas  is  the  one  representing 
Innocent  III  before  his  elevation  to  the  papacy. 
There  is  also  a Holy  Family  and  a Virgin  and 
Child.  The  latter  canvas  representing  the  Virgin 
in  a brilliant  blue  robe,  decorated  profusely  with 
the  golden  emblem  of  the  Jesuits,  is  of  the  Mexican 
school. 

The  original  copper  baptismal  font  is  still  in  use 
in  the  modern  church.  Festoons  of  gold  and  rose 
color  and  the  gold  green  and  red  decoration  of  both 
font  and  pedestal  still  retain  their  original  bril- 
liancy. 

On  the  walls  of  the  Southwest  Museum  in  Los 
Angeles  are  many  paintings  that  were  once  the 
property  of  various  California  missions.  Among 
them  is  Our  Lady  of  the  Seven  Sorrows  which  al- 
though not  possessing  any  inherent  value  in  itself 
has  an  interesting  historical  association  with  Cali- 
fornia. As  stated  previously,  when  Fr.  Junipero 
Serra  started  on  his  overland  journey  from  Mexico 
to  establish  the  missions,  he  took  with  him  chalices, 
crucifixes,  candlesticks  and  various  gold  and  silver 
vessels  which  might  be  easily  carried  to  be  used  in 
the  celebration  of  the  Mass.  The  paintings,  statu- 


i46  MISSION  DAYS  OF  ALTA  CALIFORNIA 


ary,  processional  crosses  and  heavier  material  were 
sent  by  the  water  expedition  on  the  pilot  boat  San 
Jose  which  set  out  at  the  same  time. 

The  painting  of  Our  Lady  of  the  Seven  Sorrows, 
Fr.  Palou  (biographer  of  Fr.  Serra)  says  in  the 
Noticias  (p.  47)  was  brought  on  that  ship,1  but 
its  preceding  history  is  unknown;  however,  from 
the  texture  of  the  canvas  and  the  technique  it  is 
undoubtedly  a Spanish  painting  of  the  seventeenth 
century.  This  is  the  picture  which  Fr.  Palou  says 
in  his  Life  of  Serra  (p.  130)  was  held  up  before  the 
band  of  Indians  August  1774,  when  they  attempted 
to  prevent  the  padre  from  establishing  the  Mission 
San  Gabriel,  a few  miles  south  of  the  present  site. 
When  they  beheld  the  picture  the  Indians,  throw- 
ing down  their  bows  and  arrows,  flung  themselves 
on  the  earth  in  adoration  before  it.  The  painting  is 
supposed  to  have  been  one  of  the  gifts  sent  to  Mex- 
ico from  Spain  and  afterward  sent  north  on  the 
San  Jose  at  the  time  of  the  Serra  expedition.  It  was 
placed  in  the  San  Gabriel  Mission  but  was  lost  in 
the  pillaging  after  the  secularization  in  1834,  re- 
covered later  by  the  pastor  and  afterward  fell  into 
the  possession  of  the  person  from  whom  it  was 
purchased  for  the  Museum. 

lOut  West , September,  1904,  Charles  Lummis. 


DECORATIVE  ECCLESIASTICAL  EQUIPMENT  147 


A St.  Anthony  brought  from  San  Juan  Capis- 
trano, much  more  valuable  intrinsically  than  the 
Lady  of  Sorrows,  was  probably  painted  in  the 
period  when  “burgomasters  and  princes  had  their 
pictures  painted  in  the  resemblance  of  a holy  man” 
since  it  is  evidently  the  portrait  of  a very  young 
missionary.  It  is  said  to  have  been  done  by  a Span- 
ish artist. 

Another  St.  Anthony,  from  San  Miguel,  is  a 
beautiful  sketch  painted  in  the  early  seventeenth 
century.  A large  canvas  of  Mary  Magdalen 
renouncing  the  world  (probably  by  some  Span- 
ish artist  late  in  the  seventeenth  century)  was 
brought  from  San  Antonio  de  Padua.  There  is  also 
a very  fine  St.  Cecilia;  the  technique  is  of  the  same 
century  but  unfortunately  executed  in  such  poor 
medium  that  the  flaking  of  the  colors  prevents 
critical  study. 

The  fact  that  the  European  masters  left  their 
canvasses  unsigned  and  that  this  custom  was  fol- 
lowed by  Mexican  artists  with  the  exception  of 
Echave  and-  a few  others,  made  it  exceedingly 
difficult  to  distinguish  the  painting  of  a master  from 
that  of  an  exceptionally  brilliant  pupil,  leading  as 
well  to  confusion  of  Old  and  New  World  work; 
but  in  the  case  of  the  exquisite  canvas  the  Ma- 


I4B  MISSION  DAYS  OF  ALTA  CALIFORNIA 


donna  of  the  Ring,  in  this  collection  the  genuine- 
ness of  the  canvas  is  attested  by  the  signature  of 
the  artist  Palomino  (1653-1726)  which  would  place 
the  date  probably  in  the  seventeenth  century. 
The  composition  is  unusual,  since  the  head  and 
one  shoulder  only  of  both  the  Virgin  and  the 
Infant  are  shown  in  the  picture.  The  Virgin  and 
Child  are  both  of  the  Spanish  type;  the  technique 
suggests  the  Murillo  school  although  a garland  of 
flowers  surrounding  the  composition  points  to  a 
Flemish  influence.  The  garland,  however,  may  have 
been  added  later. 

Spanish  artists  working  in  Mexico  and  artists  of 
the  old  Mexican  school  are  represented  in  the  col- 
lection also.  The  large  canvas,  Martyrdom  of  St. 
John  of  Nepomuk  (1675),  *s  a classic,  showing  un- 
mistakably the  influence  of  Murillo.  How  it  came 
to  California  is  unknown  but  it  is  said  that  at  one 
time  it  hung  in  the  private  chapel  of  a famous 
southern  California  family  not  far  from  the  city 
of  Los  Angeles. 

Many  of  the  paintings  in  this  collection  as  well 
as  those  at  San  Gabriel  show  influence  of  French, 
German  or  Italian  schools. 


DECORATIVE  ECCLESIASTICAL  EQUIPMENT  149 


SCULPTURES 

In  several  of  the  mission  churches  relics  of  the 
old  wooden  statuary  are  still  preserved.  Much  of 
it,  products  of  the  early  period  of  ecclesiastical 
wood-carving  in  Spain  and  Mexico,  is  realistic  in 
the  extreme,  the  medieval  touch  being  more 
strongly  emphasized  perhaps  because  of  the  nature 
of  the  medium  and  the  difficulty  of  the  sculptor  to 
render  in  wood  the  delicacy  and  grace  imparted  by 
marble.  Nevertheless  many  of  the  figures,  though 
lacking  in  pleasing  qualities,  still  have  a charm 
and  dignity  of  their  own. 

Among  the  ruins  of  Serra’s  chapel  (1776)  at  San 
Juan  Capistrano,  a fragment  of  an  interesting  old 
figure  probably  thrown  down  in  the  earthquake 
(1812)  which  destroyed  the  building,  reveals  the 
method  employed  by  the  ancient  figure  carver  in 
wood.  The  original  work  evidently  consisted  of 
sections  held  together  by  wooden  pegs,  the  whole 
covered  with  a cotton  fabric,  afterward  an  exterior 
coat  of  stucco  or  plaster  was  applied  and  finally 
the  completed  figure  was  colored  by  the  artist. 

Picked  up  from  amidst  the  dust  of  the  broken 
sculpture  at  the  same  place  an  exquisite  head  and 
a hand  give  evidence  of  the  beauty  of  some  of  these 
wooden  statues  at  this  mission,  but  perhaps  the 


1 50  MISSION  DAYS  OF  ALTA  CALIFORNIA 


most  distinctive  feature  of  the  statuary  at  San  Juan 
Capistrano  is  the  delicate  rendering  of  drapery. 
The  robe  of  the  San  Juan  figure  itself  is  beautifully 
cut;  the  ornamented  outer  garment  drawn  in  a 
flare  from  the  extended  right  arm,  held  close  to  the 
body  in  graceful  folds  against  the  book  which  is 
carried  in  the  left  hand,  in  comparison  with  other 
work  is  classic  in  treatment.  This  figure  is  on  one 
of  the  side  altars. 

Another  figure  of  San  Juan  with  sword  and  bear- 
ing a banner  is  not  so  well  executed.  St.  Dominic 
with  rosary  in  his  hand  is  excellent  in  color;  but  the 
most  beautiful  of  the  statuary  is  a little  Madonna 
and  Child  on  the  right  wall  of  the  sanctuary.  The 
Virgin  and  St.  Mary  Magdelene  holding  the  nails 
of  the  Cross  are  both  medieval  in  conception  but 
well  carved. 

At  the  monastery  of  San  Juan  Bautista  is  the 
beautiful  St.  John  life-size  (which  stood  originally 
above  the  altar)  perfectly  preserved  with  the  ex- 
ception of  a missing  finger.  The  carving  of  the 
teeth,  of  the  veins  and  muscles  of  neck,  arms, 
hands,  and  feet  is  marvelous;1  the  coloring  also  is 
exquisite.  The  figure  is  accompanied  by  the  figure 

Probably  either  by  the  artist  himself  or  a student  of  the  school  of  the 
Mexican  Zacarias  Cora,  famed  for  his  knowledge  of  anatomy  and  for  his 
delineation  of  muscles  and  veins. 


DECORATIVE  ECCLESIASTICAL  EQUIPMENT  151 


of  a saint  also  life-size,  but  not  so  well  developed. 
A brilliant  green  and  gilt  robe  and  tunic  of  red  on 
one  of  the  unidentified  figures  are  as  vivid  per- 
haps as  when  the  work  was  first  completed.  A St. 
Paschal  in  Franciscan  garb  is  wonderfully  modeled, 
the  flesh  tints  of  hands  and  face  unusually  fine. 
St.  Francis  of  Asisi  in  brown  robe  and  girdle,  the 
edges  of  the  robe  outlined  in  gilt  embroidery;  a 
white-robed  figure  of  St.  John  with  wooden  staff 
and  open  book,  the  edge  of  the  black  tunic  also 
relieved  by  ornamental  gilt  tracery;  a St.  Isadore 
of  Portugal  with  the  sheaf  of  wheat  in  his  hand;  a 
beautiful,  tender  St.  Anthony  holding  an  exqui- 
sitely modeled  Infant  and  a number  of  figures  of 
saints  seemingly  in  civilian  attire  are  all  undoubt- 
edly of  Spanish  origin.  One  of  the  masterpieces  of 
wood-carving  is  an  artistic  figure  of  the  Christ  just 
as  it  was  removed  from  the  Cross,  lacking  the  un- 
pleasant medieval  touch  usually  depicted  at  that 
period  in  the  Christ  countenance.  A Madonna 
with  tall  silver  crown,  purple  drapery  edged  with 
gold,  and  a blue  gown,  is  gorgeous  in  color  but  in- 
ferior in  carving,  as  is  also  that  of  the  clothed  In- 
fant in  her  arms.  Another  interesting  relic  at  this 
mission  is  the  large  mass-book  of  gilded  wood 
carved  from  a single  block;  this,  with  the  various 


152  MISSION  DAYS  OF  ALTA  CALIFORNIA 


missal-stands,  processional  crosses,  wooden  can- 
delabra chairs  and  old  carved  cases  decorated  in 
color  are  sincere  examples  at  least  of  the  mission- 
period  craftsman's  skill.  One  of  the  remnants  of 
the  generosity  of  either  New  or  Old  Spain  is  the 
large  lantern  that  held  the  light  in  front  of  the 
altar  in  the  old  church.  It  is  a rare  instance  of 
beautiful  repousse  work. 

The  early  carved  wooden  figure  as  found  in  the 
California  missions  corresponded  to  the  primitive 
type  of  Byzantine  art  in  having  only  head  and 
hands  sculptured,  the  unfinished  body  and  feet  be- 
ing concealed  in  drapery  of  cloth,  silk,  or  some- 
times stiffened  leather.  An  advance  in  later  work 
was  marked  by  the  absence  of  all  textiles  when  the 
robes  and  figure  were  entirely  carved  in  wood.  For 
obvious  reasons  in  their  sculptures  and  paintings 
the  realistic  quality  would  predominate  in  the 
crude  work  of  the  neophytes.  James  suggests  the 
draped  statues  were  probably  made  by  the  Indians 
under  the  direction  of  the  padres  and  the  imported 
work  was  carved  throughout  ready  for  placing  in 
position.  A combination  of  the  two  types  is  to  be 
found  in  the  St.  Anthony  and  Infant  at  San  Luis 
Obispo;  in  this  case  the  larger  figure,  wholly  carved, 
the  brown  robe  covered  with  gilt  leaves,  carries  a 


DECORATIVE  ECCLESIASTICAL  EQUIPMENT  153 


sheaf  of  artificial  lilies,  while  the  Infant  is  clothed 
in  a white  cotton  dress  with  elaborate  Mexican 
needle  work. 

In  the  same  church  a youthful  figure  fully 
carved  of  St.  Luis  the  Bishop  with  mitre  and  robed 
in  ecclesiastical  garments  stands  on  a pedestal  over 
the  main  altar;  on  one  side  of  the  altar  is  a Virgin, 
and  on  the  other  a St.  Joseph  and  Infant,  also 
carved  throughout,  but  of  mediocre  quality;  an  ex- 
ceedingly realistic  crucifix,  the  corpus  bathed  in 
streams  of  blood,  is  hung  to  the  left  of  the  altar. 

A still  more  unpleasing  example  of  the  same  sub- 
ject forms  the  main  centerpiece  affixed  to  the  wall 
over  the  left  altar  at  San  Buenaventura,  the  head 
crowned  with  thorns,  the  attenuated  arm  muscles 
and  the  wounded  knees  literally  covered  with  con- 
gealed blood.  Another  draped  figure  at  the  same 
church  is  a tall  Mater  Dolorosa  with  a brilliant 
halo  and  a long  lace  drapery  stretched  across  her 
extended  arms  (an  anachronism,  since  the  cloth  is 
supposed  to  be  the  linen  wrapping  for  the  body 
after  its  descent  from  the  cross).  A large  male 
figure  also  draped  balances  that  of  the  Virgin  on 
the  left;  in  each  case  only  heads  and  hands  are 
carved.  An  old  figure  of  St.  Bonaventure  with 
crown  of  red  and  gold  and  carved  throughout 


1 54  MISSION  DAYS  OF  ALTA  CALIFORNIA 


stands  on  the  main  altar  and  on  the  right  altar  a 
most  militant  and  unusual  male  (St.  Michael  ?)  with 
spear  and  glory  affixed  to  back  of  head  by  brass 
spikes;  black  boots  with  red  tops  add  to  the  military 
note.  This  statue  is  flanked  on  each  side  by  figures 
of  saints,  one  in  brown  and  one  in  white  robe.  On 
the  opposite  altar,  the  same  balanced  effect  is  given 
by  two  figures  correspondingly  robed  and  placed. 

One  of  the  best  examples  of  this  primitive  type 
is  the  draped  statue  of  the  Mater  Dolorosa  pre- 
served behind  glass  in  the  sanctuary  of  the  Presidio 
church  at  Monterey.  The  figure,  four  feet  high,  is 
clothed  in  dark  brown  robe  entirely  covering  the 
feet  and  outstretched  hands.  A gilded  halo  seems 
at  variance  with  the  modern  robing  of  the  figure, 
but  the  rude  if  rather  expressionless  face  suggests 
native  work. 

A strange  contrast  to  the  usual  conventional 
draped  statue  of  the  mission  period  is  the  large 
figure  of  the  Ecce  Homo,  for  some  time  housed  in 
the  Orphanage  at  Mission  San  Jose,  but  at  present 
in  the  monastery  of  the  old  mission  at  the  same 
place.  This  figure  has  both  hands  and  feet  carved 
and  also  portions  of  the  feet  visible  beneath  the 
tattered  red  robe  which  conceals  the  unsculptured 
body.  Across  the  back,  a purple  silk  drapery  ex- 


DECORATIVE  ECCLESIASTICAL  EQUIPMENT  155 

tends  from  the  shoulders  to  the  hem  of  the  cash- 
mere  garment  replacing  the  original  silken  robe. 
The  knotted  white  silken  cord,  the  girdle  of  St. 
Francis,  holds  the  robe  close  to  the  figure  and, 
simulating  the  bonds  of  Christ,  binds  the  hands 
crossed  in  front.  These  hands  are  remarkable  for 
the  fact,  that,  although  sculptured  short  and  broad 
as  though  accustomed  to  manual  labor,  instead  of 
the  slender  tapering  fingers  usually  ascribed  to  the 
Savior,  they  are  exceedingly  well  formed  and 
possess  a pathetic  quality  not  expressed  in  other 
representations.  Parted  lips  disclose  teeth  so  life- 
like in  appearance  that  the  observer  might  readily 
give  credence  to  the  story  of  their  human  origin. 
The  suggestion  of  the  Ecce  Homo  is  carried  out  by 
the  realistic  crown  of  thorns  upon  the  head.  Not- 
withstanding the  fact  that  the  flesh  tints  are  but 
crude  pigments  laid  on  in  rough  strokes  over  the 
wood  and  the  carving  lacks  the  delicacy  which 
characterizes  the  smoother  technique  of  mission 
sculpture  of  less  merit,  the  sculptor  has  caught  the 
Christ  portrait  and  put  into  the  round  the  pity  and 
tenderness  as  well  as  the  agony  that  other  artists 
have  expressed  on  canvas.  It  is  the  most  exquisite 
in  feeling  of  the  existing  mission  sculptures,  except 
perhaps  the  St.  John  of  San  Juan  Bautista. 


1 56  MISSION  BAYS  OF  ALTA  CALIFORNIA 


At  Mission  San  Jose  there  is  also  a St.  Bona- 
venture  in  wood,  with  carved  robe,  but  having  a 
cape  of  deer  hide  stiffened  in  the  required  shape. 
The  smooth  flesh  tints  are  put  on  in  form  of  a wash, 
but  the  face  is  of  the  conventional  type  expressed 
in  the  Ecce  Homo. 

The  massive  St.  Michael  over  the  main  altar  at 
San  Miguel  is  one  of  the  most  interesting  of  the 
fully  carved  statues.  The  figure  six  feet  high  stands 
on  a crudely  made  bracket  of  native  work,  the 
Scales  of  Justice  held  in  the  right  hand  and  a sword 
with  Latin  inscription  “Quis  ut  Deus”  (Who-as- 
God)  on  the  blade  in  the  left;  the  work  is  rendered 
more  impressive  by  a large  painting  of  the  All- 
Seeing  Eye  set  in  the  center  of  a fan-like  represen- 
tation of  the  rays  of  the  sun,  on  the  wall  above  the 
head.  Two  other  fully  carved  figures,  a St.  Francis 
and  a St.  Anthony,  both  in  brown  robes  with  gilt 
oak  leaves,  are  of  indifferent  merit.  The  Infant  held 
by  St.  Anthony  is  of  the  Byzantine  type,  as  is  also 
the  high-crowned  statue  of  the  Madonna  at  Santa 
Barbara.  In  both  instances  the  Child  is  out  of 
proportion  and  resembles  a little  old  man. 

In  the  relic  room  at  Santa  Barbara  both  figures 
of  a St.  Anthony  and  Child  are  unusually  well 
carved,  especially  that  of  the  saint,  in  which  the 


DECORATIVE  ECCLESIASTICAL  EQUIPMENT  157 


spiritual  and  tender  qualities  of  the  face  are  charm- 
ingly represented.  Here  are  also  the  three  arch- 
angels: St.  Raphael,  the  cross  on  his  breast,  the  fish 
under  his  foot,  symbol  of  the  guardianship  of  To- 
bias; St.  Michael  with  breastplate  but  without  the 
sword,  a militant  though  younger  and  much 
smaller  figure  than  that  at  San  Miguel;  San  Gabriel 
with  eyes  uplifted,  his  robe  decorated  with  stars 
and  moon  significant  of  his  message  of  the 
Incarnation  to  the  Virgin;  buskins  and  decorated 
raiment  of  the  three  figures  are  of  the  same  general 
style,  and,  in  contrast  to  the  impression  given  by 
the  ordinary  wooden  statuary,  the  posture  of  the 
body  and  the  gesture  by  both  hands  uplifted  give 
to  each  figure  an  expression  of  animation  and  force. 

Over  the  altar  at  Santa  Clara  there  is  a large  St. 
Michael  fully  carved  but  not  so  impressive  as  the 
San  Miguel  figure.  In  the  relic  room  are  an  elder 
St.  John,  with  open  book,  and  a figure  supposed  to 
be  St.  Stephen  with  the  martyr’s  palm  in  his  out- 
stretched hand.  The  garments  of  the  statue  appear 
more  suited  to  a courtier  than  to  a martyred  saint; 
indeed  the  figure  might  readily  be  mistaken  for  one 
of  the  Mexican  viceroys  if  the  identity  were  not 
suggested  by  the  martyr’s  symbol. 

Within  the  sacristy,  directly  over  the  altar  on  an 


1 58  MISSION  DAYS  OF  ALTA  CALIFORNIA 

elaborately  decorated  bracket  at  Santa  Ines  Mis- 
sion is  a statue  four  feet  high  of  the  saint  herself, 
holding  a lamb  in  the  left  hand  and  the  martyr's 
palm  in  the  right.  The  figure  is  carved  throughout; 
on  the  head  a small  crown  or  halo,  the  body 
clothed  in  a simple  girlish  robe  confined  at  the 
waist  by  a belt  or  cord.  The  simplicity  of  attire  is 
not  to  be  attributed  to  the  youthfulness  of  the  sub- 
ject, however,  since  the  countenance,  pleasing  as 
it  is,  belongs  to  a mature  woman  rather  than  to  a 
maiden  just  entering  her  teens  when  her  martyr- 
dom occurred. 

This  mission  also  possesses  a St.  Anthony  and 
Child  unique  in  that  the  face  of  the  saint  is  much 
darker  than  the  saints  are  usually  represented. 
This  was  no  doubt  an  effort  to  reach  the  untutored 
savage  mind,  a means  employed  in  the  earliest 
mission  period.  The  Child,  an  exquisite  figure,  is 
of  more  recent  date,  as  may  be  judged  from  the 
technique  and  by  the  crude  fastening  by  a nail  to 
the  side;  the  space  between  the  body  of  the  saint 
and  the  curved  fingers  of  the  extended  hand  was 
evidently  occupied  by  a larger  figure  of  the  Child 
as  the  present  fails  to  fill  it.  Another  indication  of 
the  difference  in  periods  of  sculpture  is  seen  in  the 
ancient  time-worn  exposed  surface  of  broken  parts 


V.  R.DEL  V.  P.  F.  jUNIPERO  SERRA 

j Jiyodda$.niIh)i’?cU(k*PtS~3:rcinc°<lela‘j)!(i(lCi- iiathinu.‘fry€'&?,d(J!twl. Comwtfkl'?- 
! riel,Jjj?CU6dcS^rn%^  toJtyTckla  ChlipSepeenteL:  KjfinJ°‘ 

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j de  edad  dc  %.  atB/ndddith  aVdcjaffado  la  tniddeju  nda  cn  el  exceed  d e offur/o!  i . c -fost. 


Frontispiece  of  the  Vida  y Apostolicas  Tareas  del  Venerable  Padre  Fray 
Jumpero  Serra. 


DECORATIVE  ECCLESIASTICAL  EQUIPMENT  159 


of  the  larger  figure  and  the  obviously  fresher  sur- 
face exposed  in  the  broken  foot  of  the  Child.  The 
statue  is  fully  carved  throughout.  A large  golden 
halo  extends  about  the  Infant's  face,  instead  of 
in  the  usual  fashion  back  or  around  the  head.  The 
flesh  coloring  of  the  Child  is  exquisite. 

Another  statue,  the  Madonna  and  Child,  mod- 
eled after  the  Murillo  Conception  (the  figure  of  the 
Virgin  standing  within  the  curve  of  the  crescent 
moon),  is  too  delicately  carved  for  neophyte  work. 

Santa  Ines  is  also  fortunate  in  having  the  origi- 
nal tabernacle  made  by  the  neophytes  still  in  use 
and  placed  as  it  was  in  the  early  mission  period. 
It  is  in  shell  form  and  harmonizes  in  coloring  with 
the  greens  and  blues  of  the  original  altar  and 
chancel  decoration.  Beautifully  carved  heads  of 
cherubs  ornamented  pedestals  placed  on  each  side 
of  the  altar.  A Christ  Child  and  a fully  carved 
St.  Joseph  are  the  only  figures  that  remain. 

Occasionally  the  Child  is  sculptured  alone,  as  in 
the  statuettes  in  the  relic  room  of  Our  Lady  of  the 
Angels,  Los  Angeles,  at  Carmel,  at  Santa  Clara, 
and  at  Santa  Barbara.  The  figures  are  of  the  same 
type,  large  head  and  an  unproportioned  body 
clothed  in  cotton  or  lace  dress ; the  Child,  owing  to 
the  influence  of  the  Byzantine  characteristics,  ap- 


1 60  MISSION  DAYS  OF  ALTA  CALIFORNIA 


parently  much  older  than  the  artist  intended  to 
portray.  It  may  possibly  have  been  an  endeavor 
in  some  cases  to  represent  Jesus  as  He  appeared 
before  the  Doctors  in  the  Temple. 

At  San  Gabriel  the  most  impressive  of  the  five 
statues  in  the  gilded  niches  above  the  main  altar  is 
the  figure  with  outstretched  wings  of  the  arch- 
angel from  whom  the  mission  takes  its  name.  Be- 
low in  the  place  of  honor  amidst  the  lilies  of  the 
altar,  stands  a draped  figure  of  the  Virgin  holding 
in  her  right  hand  a sheaf  of  lilies,  typifying  the  Im- 
maculate Conception.  The  face  and  head  of  each 
of  these  two  figures  are  much  better  carved  than 
those  of  the  other  saints.  In  the  museum  are  two 
small  silver  statues  of  the  seventeenth  century 
period  and  an  Immaculate  Conception  in  solid 
ivory,  indisputable  remnants  of  the  generosity  of 
either  Old  or  New  Spain. 

San  Diego  being  an  entire  ruin  there  is  nothing 
to  be  found  there  of  decorative  material  except  two 
ancient  wooden  statuettes  of  the  Christ  which  are 
at  present  at  the  school  near  the  mission  site  and 
which  originally  may  have  been  part  of  the  mission 
equipment.  The  figures  are  one  and  a half  feet 
high;  one  fully  carved  Christ  in  the  Garden  of 
Gethsemane  is  a kneeling  figure  with  clasped 


DECORATIVE  ECCLESIASTICAL  EQUIPMENT  161 


hands  and  fervent  gaze  turned  heavenward;  the 
other  represents  Him  immediately  after  the  scourg- 
ing by  the  soldiers,  a braided  crown  of  thorns 
carved  around  the  pathetic  head.  The  cloak  which 
the  jeering  soldiers  placed  over  his  shoulders  is 
made  of  a coarse  fabric  painted  red,  but,  in  this  in- 
stance, the  use  of  the  drapery  is  not  a device  to 
cover  uncarved  portions  of  the  form;  the  wounded 
limbs  are  represented  unclad  beyond  the  knees  ex- 
posing the  cruel  stripes  of  the  lash.  The  whole 
figure  expresses  intense  suffering  and  dejection. 

Four  draped  statues  originally  at  San  Antonio,  a 
Saint  Raymond  probably  the  least  interesting;  the 
Virgin,  the  hands  missing,  a halo  of  golden  stars 
behind  the  head  extending  to  the  shoulders;  a 
St.  Francis  with  the  double  cord  and  showing  the 
stigmata  on  his  uplifted  hand,  and  a St.  Anthony — 
are  of  varying  artistic  value.  The  latter,  a cherished 
possession  of  two  still  faithful  members  of  the 
older  congregation,  is  carried  by  them  to  the 
mission  church  at  the  annual  celebration  of  the 
mass. 

Two  quaint  old  heads  with  Moslem  turbans 
carved  in  weather-beaten  oak  and  preserved  in  a 
private  collection  at  Jolon  are  said  to  have  been  set 
on  posts  at  the  entrance  to  San  Antonio.  They  were 


i6a  MISSION  BAYS  OF  ALTA  CALIFORNIA 


probably  figureheads  of  foreign  vessels  utilized  for 
decoration. 

At  Mission  Dolores,  the  original  statues,  thirteen 
in  number,  fully  carved  in  wood,  still  stand  in  their 
respective  niches  of  the  reredos  and  side  altars.  In 
each  instance  the  pedestal  is  of  unusual  size  and 
more  elaborately  decorated  than  in  many  of  the 
old  mission  churches.  The  principal  figure  over  the 
main  altar  is  a large  St.  Michael,  staff  in  left  hand 
and  uplifted  sword  in  the  right.  A green  tunic 
elaborately  decorated  in  gilt  flowers,  a red  drapery 
over  the  shoulders,  and  gilded  boots  complete  the 
brilliant  costume  of  the  soldier  of  the  cross.  On  the 
right  of  this  figure  stands  a St.  John  also  brilliantly 
costumed,  and  a smaller  unnamed  statue;  on  the 
left  a St.  Clare  in  brown  robe,  holding  a rosary,  and 
beyond,  a small  but  well  carved  St.  Francis  show- 
ing the  stigmata.  Below  to  the  right  of  the  taber- 
nacle is  a crowned  figure,  of  mediocre  quality,  of 
the  Virgin;  on  the  left  stands  a beautifully  carved 
Mater  Dolorosa.  More  interesting  still  is  the  cen- 
tral figure  over  one  of  the  side  altars,  St.  Anthony, 
a sheaf  of  lilies  in  the  right  hand,  the  left  support- 
ing an  open  volume  upon  which  rests  the  figure  of 
the  kneeling  Child,  not  the  Infant  usually  por- 
trayed with  this  saint,  but  an  older  Child,  modeled 


DECORATIVE  ECCLESIASTICAL  EQUIPMENT  163 


after  the  Byzantine  type  and  sometimes  sculp- 
tured alone.  A kneeling  San  Juan  Capistrano  and 
a St.  Joseph  fill  the  side  niches.  On  the  opposite 
altar,  San  Luis  Rey  with  cross  and  uplifted  sword 
and  St.  Bonaventure  with  open  book  are  on  the 
right  and  left  respectively  of  the  central  figure  of 
St.  Joseph.  In  the  right  hand  of  the  latter  is  borne 
a sheaf  of  lilies  and  in  the  left  an  Infant  un- 
proportioned to  the  size  of  the  larger  figure.  In  all 
except  the  Mater  Dolorosa,  the  St.  Clare  and  the 
San  Luis  Rey  a brilliant  note  is  added  by  the  vivid 
coloring  of  the  robes;  in  the  San  Luis  Rey  the  dark 
armor  is  indifferently  rendered  in  the  carved  wood. 
In  every  figure  the  carving  and  coloring  of  the 
hands  far  surpass  that  of  the  heads  and  faces. 

In  one  of  the  isolated  buildings  near  the  church 
at  Santa  Cruz  are  several  old  statues  and  remnants, 
from  the  original  mission.  A fully  carved  St. 
Michael  and  an  unusual  figure  of  the  Virgin  in- 
tended for  changeable  vestments  are  still  in  a good 
state  of  preservation.  The  latter  is  really  a large 
doll  approaching  life-size,  with  movable  joints  per- 
mitting the  figure  to  be  placed  in  various  attitudes. 
Although  received  at  the  same  time  as  the  other 
statuary,  it  is  evidently  of  a later  period.  A fine 
figure  of  St.  Anthony  with  head  missing  and  a St. 


64  MISSION  DAYS  OF  AL  TA  CALIFORNIA 


Michael  still  remain.  While  a number  of  pictures, 
statues,  and  other  altar  decorations  were  borrowed 
from  other  missions  in  the  beginning,  a supply  was 
promised  by  the  Viceroy  and,  without  doubt,  those 
remaining  are  from  the  number  sent. 

The  story  of  the  padres'  effort  to  impress  the  In- 
dian with  the  fear  of  punishment  after  death  is  shown 
by  an  old  weather-beaten  carving  which  has  been 
recently  restored  to  the  Carmel  Mission.1  The  crude 
carving,  originally  nailed  to  the  door  of  the  church, 
is  made  from  a piece  of  California  oak  five  inches 
thick  and  about  three  and  a half  feet  long.  It  repre- 
sents a female  figure  in  Purgatory  posed  in  the  midst 
of  flaming  tongues  of  fire.  1 1 is  evidently  native  work. 

In  the  sanctuary  at  Carmel  there  is  also  an 
ancient  wooden  statue  of  the  Virgin  probably  of 
the  same  period  of  the  above  carving.  This  figure, 
lacking  in  color  as  though  exposed  to  the  elements 
for  a long  time,  was  placed  probably  in  the  vacant 
niche  on  the  outside  south  wall.  The  carving  is 
exceedingly  crude,  the  arms  being  merely  suggested 
and  hands  and  toes  the  only  parts  carved.  A glory 
envelops  the  entire  upper  portion  of  the  figure. 

At  Carmel,  of  the  many  beautiful  statues  brought 


^The  carving  was  restored  to  Carmel  by  Mr.  J.  K.  Oliver  who  obtained  it 
from  an  Indian.  The  latter  regarded  it  as  his  mascot. 


Portrait  taken  from  a painting  made  over  a year  after  his  death. 
Fanciful  portrait  of  Father  Serra;  until  recently 
supposed  to  be  genuine. 


DECORATIVE  ECCLESIASTICAL  EQUIPMENT  165 

from  Spain,  one  of  the  finest  (brought  in  1770)  is 
of  the  Virgin,  possibly,  from  the  winged  heads  of 
cherubs  at  her  feet,  representing  the  Assumption. 
The  figure  is  fully  carved;  bracelets  ornament  the 
wrists,  but  the  halo  or  crown  is  missing.  The  ex- 
quisiteness of  the  figure  and  delicacy  of  carving 
shown  in  the  cherub  heads  are  evidence  of  Spanish 
origin.  The  St.  Joseph  (formerly  holding  the  In- 
fant), the  San  Carlos  and  the  Virgin,  were  all 
brought  from  Spain  in  1770  and  originally  formed 
the  group  back  of  the  altar. 

The  instruction  of  the  padres  and  the  readiness 
of  the  California  Indian  to  respond  to  artistic 
training  is  evidenced  in  the  construction  of  foun- 
tains at  Santa  Barbara,  at  San  Fernando,  and  at 
San  Juan  Capistrano;  the  decorated  pottery  vases 
still  in  use  in  the  gardens  of  the  latter;  in  the 
carved  doorways  with  nail  heads  covered  by  dia- 
mond-shaped inlays;  ornamented  keystone  niches 
or  shrines  over  the  doorways;  in  the  artistic  treat- 
ment of  old  vestment  cases,  altar  rails  and  choir 
lofts;  in  the  working  in  brass,  iron,  leather,  etc. 
For  obvious  reasons  this  phase  of  neophyte  culture 
could  not  be  included  in  the  present  chapter,  which 
has  confined  itself  to  dealing  with  paintings  and 
sculpture  of  the  mission  period. 


PORTRAITS, 

FALSE  AND  TRUE,  OF  FATHER 
JUNIPERO  SERRA 

P erhaps  no  other  name  associated  with  the  early 
history  of  the  western  coast  is  better  known  or 
more  revered  than  that  of  Father  Junipero  Serra 
and  yet  until  recently  the  people  of  California  as 
well  as  others  labored  under  a misconception  re- 
garding the  authentic  portrait  of  the  celebrated 
Franciscan. 

To  readers  of  California  history  and  literature, 
the  small  volume  entitled  “Relacion  de  la  Vida  y 
Apostolicas  Tareas  del  Venerable  Padre  Fray  Juni- 
pero  Serra”  (The  Life  and  Apostolic  Labors  of 
Father  Junipero  Serra)  is  of  especial  interest,  since 
it  is  considered  authoritative  in  all  matters  of 
California  history  previous  to  that  date,  and  is 
probably  the  first  book  written1  in  the  state.  The 
manuscript  was  prepared  by  Father  Francisco 
Palou,  friend  of  Father  Serra,  in  1785  “among  the 
heathen  surroundings  of  the  Port  of  San  Francisco, 

^he  first  book  printed  in  California,  “California  As  It  Is  and  As  It  May 
Be,”  was  issued  in  1849.  Mr.  Geo.  Cole  suggests  from  the  date  that  the 
Relacion  is  the  first  written  production. 

[*66] 


PORTRAITS  OF  FATHER  JUNIPERO  SERRA  167 


in  that  new  mission,  the  most  northerly  of  New 
California,  where  I had  no  access  to  books  or  the 
society  of  learned  men  whom  I might  have  con- 
sulted,^ the  author  naively  asserts  in  his  prologue. 
The  same  year  Father  Palou  took  the  manuscript 
to  the  City  of  Mexico,  where  it  was  published  in 
1787. 

It  is  not  the  literary  nor  the  historical  interest, 
however,  but  the  frontispiece  of  the  book  which 
attracts  the  attention  of  the  student  of  the  history 
of  art  on  the  Pacific  Coast,  since  this  plate  was 
supposed  for  many  years  to  be  the  first  portrait 
published  of  Father  Serra.1  This  illustration  is  a 
singular  combination  of  the  realistic  and  the  mys- 
tical;2 it  portrays  him  standing  on  a low  mound 
preaching  to  a congregation  kneeling  at  his  feet; 
on  one  side  is  the  civilized  portion  of  his  flock, 
courtiers,  soldiers,  women  and  children;  on  the 
other  side,  the  savage,  braves  and  squaws  with 
their  papooses ; all  the  attendants  are  gazing  up- 
ward into  the  wrapt  face  of  the  inspired  preacher. 
In  his  left  hand  he  holds  an  uplifted  crucifix  and 


^his  topic  was  first  discussed  by  Mr.  George  Cole  in  a paper  on  “Cali- 
fornia Missions  and  Mission  Pictures,”  published  in  News  Notes  of  California 
Libraries , July,  1910. 

description  from  the  plate  at  the  Bancroft  Library,  University  of  Cali- 
fornia. 


1 68  MISSION  DAYS  OF  ALTA  CALIFORNIA 


in  his  right,  the  large  stone  with  which  he  merci- 
lessly pounded  his  breast  immediately  after  he  had 
delivered  his  sermon.  At  his  feet  lies  the  chain 
with  which  he  scourged  himself  in  imitation  of  San 
Francisco  Solano,  Apostle  of  Peru;1  other  symbolic 
designs  are  pictured  scattered  on  the  mound. 

Previous  to  i860  there  was  no  portrait  of  Serra 
known  to  the  general  public  until  the  appearance 
of  the  woodcut  in  Hutchings'  California  Magazine 
in  May  of  that  year.  This  portrait,  even  at  the 
present  time  popularly  supposed  to  be  authentic, 
proved  to  be  a copy  of  the  head  and  bust  of  Serra 
from  an  idealized  painting  which  hung  for  many 
years  in  the  San  Carlos  Academy  in  the  City  of 
Mexico.  Unfortunately  the  painting  disappeared 
about  ten  years  ago  and  all  efforts  to  trace  it  are 
so  far  unavailing.  The  canvas  was  painted  by  a 
Mexican  artist  some  time  after  Father  Serra’s 
death  and  no  doubt  at  the  suggestion  of  Father 
Palou  in  a letter  dated  September  6,  1784,  to 
Guardian  Juan  Sancho  of  the  College  of  San 
Fernando  describing  the  last  hours  of  Serra. 
Palou  desires  to  commemorate  the  receiving  of  the 
Sacrament  by  Serra  the  day  previous  to  his  death 
and  asks  that  the  latter  be  represented  “on  his 


1 Franciscans  in  California , Father  Zephyrin  Engelhardt. 


fc  f 
JiLAXSOV 
/ ' 

^ 'A.*. 

FR.  JUNIPERO  SERRA 
Founder  of  the  California  Missions,  was  born  at  Petra  on  Island  of  Mallorca, 
off  the  coast  of  Spain  on  November  24,  1713,  came  to  California  in  1769. 
Died  at  Mission  San  Carlos  Borromeo  (Carmel)  on  August  28,  1784. 
Aged  70  years,  9 months,  21  days.  He  is  buried  on  the  right  of  the  altar  of 
the  Mission  Church  at  Carmel.  From  the  real  portrait  of  Serra. 


jr 


PORTRAITS  OF  FATHER* JUNIPERO  SERRA  169 

knees  before  the  altar  surrounded  by  Indians  and 
by  cuirassed  soldiers,  all  bearing  candles.”1  In  his 
letter  of  February  6,  of  the  next  year,  Sancho  in- 
formed Father  Palou  that  the  portrait  was  being 
painted  at  Bishop  Verger’s  expense.2 

The  painting,  seven  by  nine  feet,  pictures  the 
moment  when  Father  Palou,  on  the  steps  of  the 
altar  in  the  church  of  San  Calos,  Carmel,  with  the 
holy  wafer  held  reverently  before  him,  is  advanc- 
ing to  administer  the  Sacrament  to  Father  Serra 
kneeling  at  the  altar.  Thus  the  lifted  head  and 
wrapt  expression  may  be  accounted  for  in  the 
reproduction  of  the  idealized  portraits  of  Serra 
which  have  appeared  from  time  to  time.  Painted 
from  life,  the  representation  of  Father  Palou  in 
this  canvas  is  consequently  an  exact  portrait.  The 
figure  of  Serra  is  clothed  in  Franciscan  robe,  the 
stole  and  the  napkin  in  his  uplifted  hands  both 
showing  plainly  the  oak-leaf  pattern  of  the  fabric; 
the  stole  and  cape  worn  by  Father  Palou  are  of  the 
same  fabric;  the  oak-leaf  pattern  is  repeated 
even  in  the  body  of  the  rug  which  covers  the 
altar  steps.  Proceeding  upward  from  the  lips  of 
Serra  in  the  direction  of  the  Host,  printed  in 


1 California  Under  Spain  and  Mexico , Irving  B.  Richman. 

2Verger  was  originally  Guardian  of  San  Fernando;  later.  Bishop  of  Linares. 


1 70  MISSION  DAYS  OF  ALTA  CALIFORNIA 


reversed  capitals,  is  the  Latin  verse,  “Tan turn  ergo 
Sacramentum”  being  chanted  by  the  choir  at  that 
moment. 

Above  the  altar  on  a pedestal  stands  a figure  of 
the  Virgin  and  Child  but  in  the  indistinctness  of 
the  photograph  from  which  this  description  is 
taken  nothing  is  visible  of  the  altar  furnishings 
except  the  six  large  lighted  candles  and  candle- 
sticks and  the  silken  square  covering  the  chalice 
decorated  with  a cross.  Although  the  standing 
figure  of  the  administering  priest,  Father  Palou, 
apparently  occupies  the  center  of  artistic  interest, 
nevertheless  the  artist  has  centered  the  interest 
of  the  observer  on  the  kneeling  figure  of  Father 
Serra  by  placing  immediately  behind  him  but  two 
figures,  an  acolyte  with  an  uplifted  bell  proclaim- 
ing the  solemn  moment  and  a tonsured  priest  in 
Franciscan  garments.  On  the  opposite  side  in  con- 
trast, the  group  of  six  Indians  kneeling,  crowded 
together,  and  two  officials  standing  immediately 
behind  give  the  idea  of  mass,  offering  no  promi- 
nence to  any  single  individual.  Each  figure  except 
Serra,  the  acolyte,  and  Palou  bears  a lighted 
candle,  carrying  out  the  request  in  the  letter  to 
Juan  Sancho.  Even  in  the  indistinctness  of  the 
shadow,  reverence  and  adoration  are  discernible 


PORTRAITS  OF  FATHER  JUNIPERO  SERRA  171 

in  the  faces  of  the  Spanish  worshippers,  an  expres- 
sion wholly  absent  from  the  countenances  of  the 
Indians.  Below  the  painting  is  a legend  of  nine 
lines  in  Spanish  relating  to  the  work  and  death  of 
Serra.1 

The  only  authentic  portrait  of  Father  Serra  was 
painted  probably  in  Mexico  during  his  visit  there 
in  1773,  and  belonged  to  the  College  of  San  Fer- 
nando where  it  remained  until  transferred  to  the 
National  Museum;  after  hanging  in  that  building 
for  some  time,  it,  too,  like  the  canvas  mentioned 
above,  unfortunately  disappeared.  In  the  first  vol- 
ume of  Missions  and  Missionaries  of California  there 
is  a fine  reproduction  from  a photograph  of  the 
original  painting  which  Dr.  Nicolas  Leon,  formerly 
of  the  National  Museum,  assured  Father  Engle- 
hardt  was  a genuine  portrait  of  Father  Serra. 
Facing  an  article  on  his  work,  La  I lustration,  a 


!At  the  Exposition  Building,  Los  Angeles,  the  writer  saw  (May,  1918)  a 
photograph  of  the  original  in  this  canvas.  On  the  back  of  the  photograph 
there  is  a tracing  in  ink  over  the  pencilled  words  “H.  H.  to  A.  F.  Coronel, 
May  13,  1882.  Junipero  Serra.”  Between  the  date  and  Serra’s  name  the 
sentence  apparently  by  the  same  writer  “Do  not  sell  this;”  which  request 
although  adhered  to  may  not  have  prohibited  the  photograph’s  being  loaned 
for  reproduction.  The  words  “Junipero  Serra”  also  in  pencil  are  written 
below  the  picture.  The  cabinet  corresponds  exactly  with  the  head  of  Serra 
as  shown  in  a photograph,  an  enlargement  (by  Mr.  Frank  Miller  of  the  Mis- 
sion Inn,  Riverside)  from  a small  photograph  of  the  original  painting  a 
short  time  before  it  disappeared  from  the  Museum.  The  description  of  the 
painting  as  given  above  is  from  the  enlargement  in  the  author’s  possession. 


172  MISSION  DAYS  OF  ALTA  CALIFORNIA 


Mexican  magazine,  published  in  1855  an  excellent 
print  of  the  seated  half-length  figure,  the  head  an 
exact  reproduction  from  the  same  source  as  the 
head  in  Father  Palou’s  book — evidently  the  orig- 
inal at  the  Museum. 

There  are  several  points  of  resemblance  in  the 
portrait  of  the  Relation  Historica  and  in  the 
one  now  recognized  as  the  genuine  portrait.  The 
upper  parts  of  the  robes  are  identical,  the  contours 
of  head  and  face  are  similar  and  the  thick  lock  of 
hair  directly  over  the  forehead  is  the  same  in 
each,  unlike  other  portraits  of  missionary  fathers. 

Father  Palou  was  Guardian  of  the  church  of 
San  Fernando  before  his  visit  to  the  northern 
mission  of  St.  Francis  and  it  is  probable  that  the 
portrait  in  the  Relation  may  have  been  copied 
from  the  original  painting  since  at  that 
time  the  portrait  was  at  the  College 
of  San  Fernando  and  accessible 
to  any  artist  who  might 
be  commissioned 
to  copy  it. 


THE  END 


ONE  THOUSAND  COPIES  OF 
THIS  EDITION  HAVE  BEEN  PRINTED  FROM 
TYPE  COMPOSED  BY  BRUCE  BROUGH 
AND  RALPH  THATCHER 


SAN  FRANCISCO 


